PAINTERS,  SCULPTORS, 
ARCHITECTS  AND 
ENGRAVERS 


.  CLEME 


REESE   LIBRARY 


UNIVERSITY  OF  CALIFORNIA 

Received 
Accessions  No.\<^4~< 


18 


TRANSFIGURATION  OF   CHRIST.      BY   RAPHAEL. 

Vatican. 


PAINTERS,  SCULPTORS,  ARCHITECTS, 
ENGRAVERS, 

AND    THEIR    WORKS. 


91 


BY 


CLARA   ERSKINE   CLEMENT, 

AUTHOR   OF    "A   HANDBOOK   OF   LEGENDARY   AND    MYTHOLOGICAL  ART." 


TOitfj  Ellustrations  ant  JHonograms. 


ELEVENTH   EDITION. 


BOSTON  AND  NEW  YORK : 
HOUGHTON,  MIFFLIN  AND   COMPANY. 

(C&e  lltoerei&e  press,  <£ambri&0e. 
1890. 


Copyright,  1873  and  1881, 
BY  CLARA  ERSKINE  CLEMENT. 

AU  rights  reserved. 


TO 

J.  MARION  SIMS 

MY  FAITHFUL  FRIEND  AND  PHYSICIAN, 

$  Intricate  tt)t*  B0ofc, 

AS  A  TOKEN  OF  RESPECT,    GRATITUDE,   AND  AFFECTION. 

CLARA  ERSKINE  CLEMENT. 


PREFACE  TO  ENLARGED   EDITION. 


DURING  the  eight  years  which  have  passed  since  the  publi- 
cation of  this  book,  I  have  made  many  additions  to  its  contents,  — 
have  revised  the  indexes  and  added  an  appendix  giving  inter- 
esting facts  concerning  the  prices  paid  for  valuable  works  of  art, 
and  other  matters  connected  with  them. 

I  have  now  added  an  introduction  which  gives  an  account  of 
the  Schools  of  Art  in  European  countries,  and  includes  chrono- 
logical tables  of  the  principal  masters  in  those  schools.  This 
introduction  is  a  very  important  improvement  to  the  book,  and 
adds  much  to  its  usefulness. 

The  illustrations  have  been  increased  by  the  addition  of 
eight  full-page  plates,  and  the  present  edition  is  far  more  valuable 
than  the  preceding  ones  have  been. 

CLARA  ERSKINE  CLEMENT. 
BOSTON,  January,  1881. 


PREFACE  TO  SECOND  EDITION. 


FOR  the  convenience  of  my  readers  it  seems  best  to  explain 
more  fully  than  has  been  done  the  plan  of  this  book.  In  writing 
it  I  had  two  objects  constantly  in  mind,  namely,  that  it  must  be 
kept  within  a  portable  size  and  a  moderate  cost.  In  order  to 
do  this,  all  living  artists  were  excluded,  and  those  not  living 
spoken  of  with  as  much  conciseness  as  possible,  while  few  were 
mentioned  whose  works  do  not  come  in  the  way  of  most  travel- 
lers. This  last  rule  when  applied  to  the  artists  of  antiquity 
takes  in  a  very  small  number.  Of  antique  paintings  we  have 
almost  nothing  remaining,  and  of  antique  sculptures  but  a  small 
number  of  well  attested  originals  and  some  copies.  My  limits 
have  been  exceeded  in  this  respect  by  adding  a  few  artists  of 
antiquity  of  whom  much  is  written  and  said,  but  whose  works 
are  not  extant.  It  is  a  pleasure  to  elaborate,  to  dwell  with  mi- 
nuteness upon  every  known  circumstance  in  the  lives  of  those 
who  have  left  us  works  of  Art,  and  this  has  often  been  done.  Our 
libraries  are  rich  in  such  fascinating  and  valuable  books  ;  but 
my  aim  was  to  give  outlines  ;  to  supply  the  want  of  a  Hand- 
book for  travellers,  and  a  convenient  book  of  reference  for  all, 
in  which  facts  may  be  quickly  ascertained,  to  make  a  suggestive 
rather  than  an  exhaustive  work,  —  in  short,  a  book  wherein 

"  Th'  unlearned  their  wants  may  view, 
The  learned  reflect  on  what  before  they  knew." 
January,  1874. 


PEEFAOE. 


WHEN  I  regard  a  favorite  shelf  in  my  library,  and  consider 
how  exhaustively  the  subjects  of  this  volume  have  been  treated, 
I  feel  inclined  to  hide  it  away ;  but  when  I  think  how  many 
there  are  in  our  land  who  are  as  much  interested  in  art  and 
artists  as  I  am,  and  have  not  the  means  to  furnish  such  a  shelf, 
I  hope  that  this  book  may  do  something  for  them.  I  have  also 
endeavored  to  make  it  a  book  of  reference  which  can  be  easily 
consulted  and  used  to  advantage  in  connection  with  more  exten- 
sive works.  Much  time  and  study  have  been  given  to  its  prep- 
aration, and  I  have  aimed  to  be  conscientiously  correct  as  well 
as  unprejudiced  in  my  decisions  between  conflicting  authorities. 
The  books  consulted  are  too  numerous  to  be  named  except  in 
part,  which  will  be  done  at  the  end  of  this  preface.  The  book 
is  not  necessarily  connected  with  my  work  on  "  Legendary  and 
Mythological  Art,"  but  the  two  are  so  related  to  each  other  as 
to  be  profitably  used  together. 

The  arrangement  of  engraving  lists  is,  so  far  as  I  know, 
unique,  and  will  render  it  a  useful  handbook  for  connoisseurs 
and  buyers. 

The  illustrations  are  representations  of  standard  works  of 
art,  most  of  which  are  seen  in  European  galleries  and  churches. 
A  good  number  of  monograms  of  painters  and  engravers  are 
also  given. 

I  have  endeavored  in  a  small  space  to  speak  not  only  of 
artists  as  such,  but  by  various  facts  and  anecdotes  to  convey 
an  idea  of  what  they  were  in  character  and  life. 

Three  comprehensive  indexes  are  added,  which  will  increase 
the  convenience  and  usefulness  of  the  book,  and  in  short,  in  its 
entire  plan  I  have  adopted  the  motto  of  Jan  van  Eyck,  "  Als 
ich  chan."  CLARA  ERSKINE  CLEMENT. 

BOSTON,  October  14,  1873. 


AUTHORITIES  CONSUL' 


D'ARGENVILLE.    "  Abre'ge  de  la  Vic  de  plus  fameux  Peintres." 

D'AoiNCOURT.     "  Histoire  de  1'Art  par  les  Monuments." 

"  ANONIMO  DI  MORELLI." 

BERMUDEZ.  "  Diccionario  Historic©  de  los  mas  Illustres  Profesores  de 
las  Bellas  Artes  en  Espana." 

BLANC,  CHARLES     The  Works  of. 

CARPENTER.     "  Memoir  of  Sir  Anthony  Vandyck." 

CUNNINGHAM.     "  Lives  of  the  most  Eminent  British  Painters." 

CROWE  AND  CAVALCASELLE.     "  Early  Flemish  Painters,"  etc.,  etc. 

CARTON,  L'ABBE.    "  Les  Trois  Freres  Van  Eyck." 

EASTLAKE.    "  Materials  for  a  History  of  Oil  Painting." 

DIDRON.     "  Manuel  d'Iconographie  Chretienne." 

DAVIES.    "  Life  of  Murillo." 

FORD.     "  Handbook  of  Spain.''" 

FELIBIEN.  "  Entretiens  sur  les  Vies  et  sur  les  Ouvrages  de  plus  excel- 
lens  Peintres." 

GATE.    "  Carteggio  Inedits  d'Artisti." 

GRIMM.     "  Life  of  Michael  Angelo." 

HELLER.    "  Das  Leben  und  die  Werke  Albrecht  Diirers." 

JAMESON,  MRS.     "  Italian  Painters." 

KUGLER.  Handbooks  of  Italian,  German,  Dutch,  and  Flemish  Paint- 
ing. 

LANZI.    "  Storia  Pittorica  dell'  Italia." 

"LEGENDA  AUREA,"  THE. 

LUBKE.     Histories  of  Painting  and  Sculpture. 

MICHIEL.    "  Rubens  et  1'Ecole  d'Anvers." 

MICHIEL.     "  La  Peintro  Flamande." 

MASCHINI.     "  Guida  di  Venezia." 

MILANESI.    "  Documenti  per  la  Storia  dell  'Arte  Senese." 

MERRIFIELD,  MRS.  Translation  of  "  Cennino  Cennini's  Treatise  on 
Painting." 

NORTHCOTE.    "  Life  of  Sir  Joshua  Reynolds." 

PASSAVANT.    "  Rafael  von  Urbino,"  etc. 

RACZYNSKI.     "  Les  Arts  en  Portugal." 

RUMOHR.     "  Italienische  Forschungen." 

RAMBOUX.  "  Umrisse  zur  veranschaulichung  alt  Christlichen  Kunst  in 
Italien." 

SCHAFER.  Translation,  "  Das  Handbuch  der  Malerei  vom  Berge 
Athos." 


X  AUTHOKITIES   CONSULTED. 

SHAW.     "  Illuminated  Ornaments  sketched  from  MSS.,  etc." 
STIRLING.     "  Annals  of  the  Artists  of  Spain." 
VOSMAER.     "  Rembrandt  Harmens  van  Bijn." 
VILLOT.     "  Notice  des  Tableaux  du  Louvre." 
VASARI.     "  Lives  of  Painters,  Sculptors,  Architects,"  etc. 
VERMIGLIOLI.    Memoir,  etc.,  of  Pinturicchio  and  Perugino. 
WALPOLE.     "  Anecdotes  of  Painting." 
WORNUM.     "  Epochs  of  Painting." 

Dictionaries  and  Catalogues :  Bartsch,  Bryan,  Elmes,  Heineken,  Nag- 
ler,  Pilkington,  Bigollot,  Seguier,  Smith,  etc. 


ABBREVIATIONS   USED. 


Card.  Cardinal. 
Cath.  Cathedral. 
Ch.  Church. 
Coll.  Collection. 


S.   Saint. 


Gall  Gallery. 
Gio.  Giovanni. 
Mus.  Museum. 
Pal,  Palace. 


LIST  OF  ILLUSTRATIONS. 


PAGE 

TRANSFIGURATION  OF  CHRIST.     Raphael.     Vatican     .         Frontispiece. 

APOLLO  BELVEDEKE.     Vatican 

LAOCOON.     Vatican 7 

THE  Vow.     Titian 12 

CUPIDS.     Francisco  Albani 

MAGDALENE.     Correggio.     Dresden  Gall 26 

SPALATKO.     Washington  Allston 31 

THE  FALSE  PLAYERS.    Caravaggio 39 

DIRCE.    Naples 

MRS.  SIDDONS.    Gainsborough 62 

HEAD  OF  ROXANA.    Farnesina,  Rome 

S.  LORENZO  GIUSTINIANI.    Venice 92 

CHRIST.     Gio.  Bellini 

RELIEF.    From  Pulpit  in  Sta.  Croce,  Florence 97 

MILKING  A  GOAT.     Nicolas  Berchem 100 

APOLLO  AND  DAPHNE.    Villa  Borghese,  Rome 105 

A  GLORIFIED  MADONNA.    Berlin  Mus 121 

S.  JUSTINA  AND  ALPHONSO  I.  OF  FERRARA.    Belvedere,  Vienna    .        .  122 

CORONATION  OF  THE  VIRGIN.     S.  Simpliciano,  Milan   ....  123 

THE  BOAR  HUNT.    Snyders 132 

ISAIAH.    M.  Angelo.     Sistine  Chapel,  Rome 150 

MOSES.     M.  Angelo.     S.  Pietro  in  Vincoli,  Rome 157 

ADORATION  OF  THE  MAGI.    Paul  Veronese.    Dresden  Gall.         .        .  168 

C.-KSAR  BORGIA.    Raphael 188 

VENUS  AND  MARS.    A.  Carracci.     Farnese  Pal.,  Rome  ....  194 

S.  JOHN.     ( 'iniabue.     S.  Maria  Novella,  Florence 209 

DEATH  OF  S.  MARY  OF  EGYPT.    Pietro  da  Cortona     ....  225 

GROUP.    From  a  painting  by  Lucas  Cranach 230 

S.  LUCIA.    Crivelli  .                234 

COMMUNION  OF  S.  JEROME.    Domenichino.    Vatican       ....  247 

PICTURE  BY  G.  Dow.    Vienna  Gall 252 

THE  WOMEN  GOING  TO  THE  SEPULCHRE.    Duccio.    Cath.  of  Siena        .  255 

S.  CHRISTOPHER.    Albert  Diirer 258 

THE  ANCHORITES.    Hubert  van  Eyck.    From  the  Ghent  Painting    .        .  267 

ANNUNCIATION.    J.  van  Eyck 268 

A  WALL-PAINTING.    In  the  Catacombs  of  S.  Calixtus,  Rome  .        .        .  273 

CORONATION  OF  THE  VIRGIN.    Fra  Angelico.    Acad.  of  Florence        .  276 

MADONNA.    Fr.  Francia.    Dresden 284 

RELIEF.    From  Ghiberti's  Gate  to  the  Baptistery  at  Florence          .        .  296 
ZACHARIAS  WRITING  THE  NAME  OF  JOHN.    Domenico  Ghirlandaio.    S. 

Maria  Novella,  Florence 297 

MRS.  CALEB  LORING.    Stuart 300 

THE  CONCERT.    Giorgione.    Pitti  Gall .305 

FIGURE  OF  S.  JOHN.    Giotto.    In  S.  Maria  dell'  Arena,  Padua     .        .  307 

FROM  THE  HISTORY  OF  NOAH.     Benozzo  Gozzoli.     Campo  Santo,  Pisa  313 


xii  LIST  OF  ILLUSTRATIONS. 

PAGE 

S.  PETRONILLA.     Guercino.    Capitol,  Rome 319 

MARRIAGE  A  LA  MODE.    Hogarth.     National  Gall 332 

THE  BURGOMASTER  MEIER  MADONNA.    Holbein.    Dresden  Gall.    .        .  337 

CATHEDRAL  OF  S.  MARK.    Venice.    Byzantine  Architecture       .        .  344 

STILL-LIFE.     Kalf .353 

ONE  OF  THE  SEVEN  STAGES  OF  THE  PASSION  OF  CHRIST.    Adam  Krafft  357 

MADAME  LE  BRUN.     By  herself 360 

TEMPTATION  OF  CHRIST.     Lucas  van  Leyden 366 

SS.  PETER  AND  PAUL  BEFORE  THE  PROCONSUL  FELIX.    Filippino  Lippi. 

Brancacci  Chapel 372 

S.  URSULA.     Cath.  of  Cologne.    Stephan  Lothener         ...         .379 
CHRIST  MOURNED  BY  ANGELS.    Mantegna.    Berlin  Mus.        .        .        .388 

PETER  BAPTIZING.    Masaccio.    S.  Maria  del  Carmine,  Florence    .        .  395 

THE  MISERS.     Q.  Massys.     Windsor  Castle 397 

S.  URSULA  LANDING  AT  COLOGNE.    Hans  Memling.     Shrine  of  S.  Ursula  492 

A  SPORTSMAN.    Metsu.    At  the  Hague 406 

S.  JOHN.    Murillo.    Madrid  Mus 418 

MARBLE  COPY  OF  MYRON'S  BRONZE  DISK-THROWER.  Massimi  Pal.,  Rome  423 
SAMSON  OVERCOMING  THE  LION.    Master  Nicolaus.    Kloster-Neuberg  428 
BEGGARS  BESEECHING  THE  ANGEL  OF  DEATH  TO  TAKE  THEM.    Attrib- 
uted to  Orcagna.     Campo  Santo,  Pisa 432 

CORONATION  OF  THE  VIRGIN.    Imhoff  Altar-piece,  Nuremberg        .        .  438 

THE  THREE  GRACES.    Palma  Vecchio.    Dresden  Gall 441 

RELIEF  ON  A  BAPTISMAL  BASIN.    Lambert  Patras.     S.  Barthe'lemy,  Liege  446 

MADONNA.    Perugino.    Pitti  Gall.,  Florence 450 

RAISING  OF  LAZARUS.     Sebastian  del  Piombo.    National  Gall.         .        .  457 

ADORATION  OF  THE  KINGS.    Niccolo  Pisano.    Pulpit  in  Baptistery  at  Pisa  459 

HEAD  OF  JUNO.     Ludovisi  Villa,  Rome 463 

THE  DESCENT  FROM  THE  CROSS.     Fra  Bartolommeo.    Pitti  Gall.        .  465 

MOSES  AT  THE  SPRING.    N.  Poussin 467 

A  SATYR.    After  Praxiteles.     Capitol,  Rome 469 

RAPE  OF  GANYMEDE.    Rembrandt.    Dresden  Gall.  .  .        .        .  489 

THE  AURORA.    Guido  Reni.    Rospigliosi  Pal.,  Rome      ....  497 

DAVID  AND  HEAD  OF  GOLIATH.     Guido  Reni 500 

LEAR,  A  STUDY.     Sir  Joshua  Reynolds 502 

MADONNA  IN  TERRA-COTTA.    Luca  della  Robbia 510 

DAVID'S  TRIUMPH.     Matteo  Roselli •        •  518 

CHILDREN.     Rubens.     Berlin  Gall.  .        .        . .      .        •        •        .524 

BRONZE  GROUP  OF  THE  BAPTISM  OF  CHRIST.    Andrea  Sansavino      .  536 
THE  ENTOMBMENT  OF  CHRIST.     Jacopo  Sansavino.     From  the  Bronze 
Gate  of  the  Sacristy  of  S.  Mark,  Venice       .... 

MADONNA.     Andrea  del  Sarto 540 

FROM  THE  LAST  JUDGMENT.     Signorelli.     Cath.  of  Orvieto         .        .  550 

PICTURE.    By  Teniers.    Madrid  Gall 563 

ALLEGORICAL  PICTURE.    Tintoretto.    Doge's  Pal.,  Venice   ...  570 

S.  SEBASTIAN.    Titian.    Vatican 573 

THE  CHILDREN  OF  CHARLES  I.    Vandyck.    Dresden  Gall.          .        .  587 

PORTRAIT.     Velasquez ' 

JOHN,  PETER,  AND  JUDAS.    Da  Vinci.    Milan 

TOMB  OF  S.  SEBALD.    P.  Vischer.    Nuremberg * 

RELIEF  FROM  THE  TOMB  OF  S.  SKBALD.    P.  Vischer.    Nuremberg    .  614 
THK  SIBYL  AND  THE  EMPEROR  AUGUSTUS.     R.  van  der  Weyden. 

Berlin  Mus 

SHED  WITH  HORSES.     Philip  Wouvermans 625 


UNI  ITY 


INTRODUCTION. 


SCHOOLS   OF   ART. 

PERHAPS  there  is  no  art- term  so  generally  used  and  so  capable 
of  being  misunderstoood  as  "  Schools  of  Art,"  for  the  reason  that 
it  is  employed  with  such  varied  meanings.  It  sometimes  de- 
notes the  schools  of  certain  countries,  —  sometimes  those  of  cer- 
tain periods,  and,  again,  the  resemblances  which  exist  in  the 
works  of  masters  of  different  countries  and  periods.  When 
used  in  the  latter  sense,  "  school "  means  style  or  manner  of 
painting. 

I  shall  use  it  here  as  denoting  both  the  country  and  period  of 
which  I  speak ;  thus,  I  shall  first  apply  it  to  the  Italian  school 
of  the  thirteenth  century.  I  shall  speak  of  time  according  to 
the  English  method  of  reckoning  it.  In  this  we  differ  from  the 
Italians,  for  their  "  Quattrocentisti"  or  fourteenth -century  mas- 
ters belong  to  the  fifteenth  century  by  our  method,  while  their 
" Cinquecento"  or  fifteenth  century,  is  our  sixteenth,  and  so  on. 

1200'  —  The  thirteenth  century  gave  so  few  painters  to 
Italy  that  one  can  scarcely  speak  of  a  school  of  that  time,  — but 
the  few  artists  of  whom  we  have  a  knowledge  should  be  men- 
tioned. 

They  are  GIUNTO  DA  PISANO,  who  lived  from  1202  to  1258, 
and  painted  in  the  church  of  St.  Francis  at  Assisi ;  GUIDO  DA 
SIENA,  of  whose  work  one  painting  remains  in  the  church  of 
St.  Domenico  in  Siena,  dated  1221  ;  BONA VENTURA  BER- 
LINGHIERI,  of  Siena,  1235,  whose  remaining  works  are  scenes 
from  the  life  of  St.  Francis  in  the  church  of  that  saint  at  Pescia, 
and  a  "  Crucifixion  "  in  the  Academy  of  Fine  Arts  at  Florence ; 
MARGARITONE  OF  AREZZO,  who  lived  from  1236  to  1313;  his 
remaining  works  are  ugly  and  curious ;  one  is  in  the  National 
Gallery,  London  ;  GADDO  GADDI,  a  Florentine,  1239  —  1312; 


xiv  INTRODUCTION. 

probably  his  only  remaining  works  are  some  mosaics  in  the 
cathedrals  of  Florence  and  Pisa,  the  Baptistery  of  Florence, 
and  in  the  portico  of  Santa  Maria  Maggiore,  in  Rome  ;  CIM- 
ABUE,  the  last  record  of  whom  is  in  1302,  and  whose  works  are 
still  known;  PIETRO  CAVALLINI,  a  Roman,  who  lived  about 
1259  — 1344,  principally  known  by  his  mosaics  in  the  church 
of  Santa  Maria  in  Trastevere,  Rome ;  and  Duccio  DI  BUONIN- 
SEGNA  or  DA  SIENA,  who  painted  in  1282,  and  whose  chef 
d'ceuvre  is  still  in  the  Cathedral  of  Siena. 

FOURTEENTH  CENTURY.  —  It  may  be  said  that  during  this 
century  the  Tuscan  school  was  the  only  one  in  Italy  ;  but,  for 
clearness,  this  may  be  divided  into  those  of  Florence  and  Siena. 
In  the  beginning  of  the  century  GIOTTO  was  the  most  important 
master  of  the  Florentine,  and  SIMONE  MARTINI  (also  called 
MEMMI)  of  the  Sienese,  school. 

Giotto,  whose  beautiful  Campanile  at  Florence  proves  him  to 
have  been  an  architect  and  sculptor  as  well  as  a  painter,  had 
numerous  followers,  known  as  "  Giotteschi"  and  many  frescoes 
and  other  pictures  still  remain  to  show  their  manner,  and  the 
state  of  Italian  art  at  that  time. 

The  painters  of  the  Sienese  school  were  especially  fruitful  in 
fresco  painting,  and  much  of  their  work  still  remains.  The 
very  important  and  extensive  works  executed  at  the  Campo 
Santo  of  Pisa  afforded  an  opportunity  for  the  artists  of  all  Italy 
to  exercise  their  highest  talent,  and  the  emulation  which  grew 
out  of  their  thus  placing  their  works  side  by  side,  no  doubt  in- 
cited them  to  greater  effort  than  they  would  otherwise  have 
made.  It  is  not  possible  to  overestimate  the  influence  which 
the  Campo  Santo  had  upon  what  we  call  "  modern  Italian  Art." 

There  were  also  in  the  fourteenth  century  a  few  painters  in 
Bologna  and  Modena.  Some  of  their  works  are  now  seen  in 
Italian  and  German  galleries. 

FIFTEENTH  CENTURY.  —  This  is  the  time  to  which  the  term 
"  Renaissance  "  is  usually  applied,  and  although  it  belongs  in  a 
purely  technical  sense  to  the  art  of  architecture,  it  is  used  in 
relation  to  all  the  fine  arts.  The  two  preceding  centuries  had 
been  the  pre-natal  period,  —  now  the  birth  had  come,  and  the 
best  epoch  of  Italian  art  was  that  of  its  early,  vigorous  youth. 


INTRODUCTION.  xv 

In  the  fifteenth  century  it  gave  to  the  world  such  men  as 
Leonardo  da  Vinci,  Michael  Angelo  Buonarotti,  Raphael  Sanzio 
and  Tiziano  Vecellio,  and  the  hosts  who  followed  these  great 
standard-bearers. 

Since  the  tables  at  the  end  of  this  introduction  give  the  names 
of  the  masters  of  each  school  and  the  time  at  which  they  lived, 
I  shall  here  name  the  schools  of  the  time  without  the  addition 
of  other  particulars.  They  were  the  Florentine,  Roman,  Bo- 
lognese,  Paduan,  Venetian,  Umbrian,  Ferrarese,  Veronese,  and 
Lombard  schools.  At  the  time  of  their  existence,  much  impor- 
tance was  attached  to  the  school  to  which  an  Italian  master  be- 
longed, and  for  the  student  or  writer  of  to-day,  where  space  is  at 
command,  there  are  many  interesting  things  connected  with 
them,  but  for  the  amateur  lover  of  art,  it  is  difficult  to  hold 
these  things  in  remembrance.  Since  the  works  of  all  these 
schools  are  placed  together  in  galleries  and  collections  all  the 
world  over,  the  whole  matter  is  very  nearly  reduced  to  the  con- 
sideration of  art  by  centuries,  and  it  is  only  the  more  important 
masters  who  are  associated  in  our  minds  with  the  school  to 
which  they  belonged.  For  example,  we  do  not  forget  that 
Raphael  was  of  the  Roman  school,  Titian  of  the  Venetian,  the 
Caracci  of  the  Bolognese,  and  so  on ,  —  but  of  their  innumerable 
followers,  we  rarely  remember  more  than  that  they  were  of  a 
certain  century.  For  this  reason,  the  tables  here  given  will  be 
most  useful  for  reference  in  this  regard. 

SIXTEENTH  CENTURY.  —  The  "  Cinquecento  "  of  the  Italians, 
or  the  sixteenth  century  of  our  reckoning,  saw  the  culmination 
of  modern  Italian  art.  The  great  masters  before  named  now 
attained  their  highest  excellence,  and  to  them  were  added 
Giorgioue,  Sebastian  del  Piombo,  Andrea  del  Sarto,  Correggio, 
Paolo  Veronese,  and  many  others. 

Happily,  so  many  works  by  these  masters  remain,  that  trav- 
ellers become  perfectly  familiar  with  them,  while  engraving, 
photography,  and  other  processes  bring  their  design  and  spirit  — 
all  their  characteristics  save  color  —  within  the  reach  of  all 
students  and  art-lovers. 

SEVENTEENTH  CENTURY.  —  The  beginning  of  this  century 
was  a  period  of  great  interest  and  importance  in  the  history  of 


XVI  INTRODUCTION. 

Italian  painting.  The  first  effects  of  the  Reformation  had  spent 
themselves ;  on  one  hand  there  was  a  returning  to  the  former 
intensely  devotional  feeling  of  the  Romish  Church,  pure  and 
simple.  On  another  side,  much  study  of  Greek  art,  and  a  desire 
to  be  freed  from  the  traditionary  trammels  which  hung  about  all 
schools,  occasioned  the  advent  of  a  new  party,  calling  themselves 
"  Eclectics,"  or  those  who  chose  whatever  they  approved  from  all 
pre-existing  schools,  and,  uniting  these  various  parts,  produced 
a  new  and  more  original  moaner  than  had  heretofore  existed. 

Still  a  third  school  appeared,  which  scorned  all  traditions,  and 
undertook  to  represent  things  exactly  as  they  appeared.  Its 
disciples  called  themselves  "  Naturalisti,"  and  they  flourished 
chiefly  at  Naples,  while  the  "  Eclectics  "  were  established  at  Bo- 
logna. Between  these  schools  there  existed  an  intense  hatred, 
which  is  said  to  have  caused  all  sorts  of  atrocities  to  be  com- 
mitted, and  it  is  even  related  that  in  some  instances  the  masters 
of  one  school  were  murdered  by  the  instrumentality  of  those  of 
the  opposing  faction.  The  disciples  of  the  "  Eclectics  "  far  out- 
numbered those  of  the  "Naturalisti,"  and  the  school  of  the 
Caracci  exerted  an  immense  influence  upon  the  art  of  all 
Europe. 

A  few  of  the  "  Naturalisti  "  were  powerful  men,  of  pronounced 
personal  characteristics  and  marked  originality  ;  but  their  works 
were  often  such  as  appealed  to  brutal  natures.  While  their 
theory  did  not  merit  utter  condemnation  when  applied  to  do- 
mestic scenes,  sacred  subjects  thus  treated  became  absolutely 
repulsive,  and  could  only  exert  a  demoralizing  influence  upon 
all  who  regarded  them.  It  is  not  difficult  to  believe  that  men 
who  studied  in  detail  some  of  the  disgusting  things  which  they 
reproduced  with  absolute  realism,  should  have  been  lowered  in 
all  their  natures,  —  should  have  grown  cruel,  and  abandoned 
themselves  to  vices,  and  finally  have  become  capable  of  commit- 
ting the  crimes  of  which  they  were  accused. 

EIGHTEENTH  CENTURY.  —  All  the  antagonistic  elements  of 
the  schools  of  the  preceding  century  bore  fruit  in  this ;  and  as 
the  feeling  which  had  led  up  to  the  "  Renaissance  "  rapidly  died 
out,  a  sort  of  mechanical  realism  appeared,  and  the  class  of  genre 
landscape  and  interior  painters,  of  whom  Canaletto  may  be 


INTRODUCTION.  xvii 

called  the  leader,  made  themselves  prominent.  This  art  ap- 
peared in  Venice,  and  the  canals,  bridges,  palaces,  churches,  and 
other  objects  were  all  reproduced  with  photographic  exactness 
of  detail.  Gradually  it  was  carried  to  other  countries,  and  pic- 
tures exist  of  views  in  Germany  and  England,  made  by  Cana- 
letto  and  his  followers. 


FLANDERS. 

• 

The  painters  of  Flanders  were  so  few  in  comparison  with 
those  of  Italy  that  they  will  be  spoken  of  more  as  individuals 
than  by  schools. 

FOURTEENTH  CENTURY.  —  A  little  past  the  middle  of  this 
century  Hubert  van  Eyck  was  born,  and  his  name  stands  first 
in  the  history  of  the  painting  of  his  country ;  he  did  much  for 
its  elevation  in  style,  and  discovered  a  new  medium  for  painting 
in  oils,  besides  many  improvements  in  colors.  His  brother  Jan, 
twenty  years  younger  than  Hubert,  beginning  his  work  with 
the  advantages  of  all  Hubert's  discoveries,  as  well  as  those  of 
his  instruction  and  advice,  carried  his  manner  to  far  greater  per- 
fection. These  two  men  were  the  founders  of  the  Flemish 
school. 

Another  painter,  Rogier  van  der  Weyden,  about  fifteen  years 
younger  than  Jan  van  Eyck,  was  also  an  influential  master ;  in 
some  regards,  perhaps,  his  importance  equals  that  of  the  Van 
Eycks.  He  was  more  realistic  than  they,  and  gave  close  at- 
tention to  details ;  thus  it  followed  that  subjects  which  had  ele- 
ments of  the  disagreeable  were  rendered  more  unpleasant  by 
Van  der  Weyden  and  his  school,  than  by  that  of  the  Van  Eycks. 
Hans  Memling  was  the  most  important  pupil  of  Van  der  Weyden, 
and  excelled  his  master  both  in  delicacy  and  power. 

After  the  death  of  Memling,  in  1495,  Flemish  art  declined 
until  the  Antwerp  school  was  founded  by  Quentin  Matsys, 
(1166 — 1529)  and  went  steadily  on  to  its  highest  excellence 
under  Rubens,  who  belongs  to  the  sixteenth  and  seventeenth 
centuries.  There  were  many  notable  masters  in  the  Antwerp 
school,  and  the  remarkable  characteristics  of  Rubens  made  it  in 
his  day  the  prominent  school  of  all  Europe,  and  such  pupils  as 


xvin  INTRODUCTION. 

Vandyck  and  Jacob  Jordaens  added  lustre  to  the  renown  of  their 
master,  while  they  created  their  own  fame. 

After  the  time  of  the  immediate  followers  of  Rubens,  there  is 
little  of  interest  in  the  study  of  Flemish  art. 

HOLLAND. 

There  are  reasons  for  believing  that  a  very  early  school  of  art 
existed  in  Holland,  but  we  have  no  trustworthy  records  regard- 
ing such  matters  there,  until  the  time  when  the  influence  of  the 
Van  Eycks  was  extended  to  that  country,  and  the  school  of  Ley- 
den  was  founded  by  Cornells  Engelbrechtsen,  Lucas  van  Leyden 
and  others,  who  flourished  from  the  beginning  of  the  sixteenth 
century.  In  its  earliest  time  devotional  subjects  were  treated, 
but  soon  portraiture  and  scenes  from  domestic  life  occupied  the 
painters  of  the  Dutch  school. 

A  great  number  of  portrait  painters  existed  here,  and  were 
largely  occupied  in  painting  portraits  of  the  officers  and  mem- 
bers of  the  numerous  guilds  which  flourished  all  over  Holland. 

The  genre,  or  domestic,  scenes  of  some  of  the  Dutch  artists 
Jiave  scarcely  been  equalled,  and  certainly  never  surpassed. 
Those  which  represent  boorish  or  peasant  life  form  a  depart- 
ment in  art  by  themselves,  and  are  often  marvels  of  realistic 
genius.  Another  class  is  that  which  represents  rich  interiors, 
with  ladies  in  gowns  of  marvellous  satins,  and  rare  laces  and 
feathers  ;  the  apartments  have  furnishings  of  rich  stuffs,  mirrors, 
ornaments  m9  metals,  and  every  object  which  could  call  out  the 
contrasts  of  light* and  shade.  Kitchen  interiors,  pictures  of 
game,  both  dead  and  alive,  and  all  the  subjects  included  under 
the  term  "  .still  life  "  were  treated  with  great  effect.  The  flower 
painters  of  Holland  also  merit  any  amount  of  praise,  but  as  in 
Flanders  one  is  largely  occupied  with  the  thought  of  Rubens, 
so  in  Holland  Rembrandt  claims  and  merits  the  place  of  honor 
in  the  art  annals  of  his  country. 

Born  in  the  beginning  of  the  seventeenth  century,  this  master 
distinguished  himself  in  so  many  departments  of  painting  that 
he  can  be  allotted  to  no  one  of  them,  —  for  either  his  portraits, 
religious  and  mythological  subjects,  interiors,  or  etchings  would 
have  made  l.im  a  lasting  fame,  while  his  peculiar  mastery  in 


INTRODUCTION.  xix 

light  and  shade  renders  him  unique,  and  assures  him  an  indi- 
vidual place  for  all  time. 

The  landscape  and  animal  painters  of  Holland  were  also  re- 
markable, and  such  names  as  those  of  Albert  Cuyp,  the  brothers 
Both,  and  Wynants  among  the  first,  and  Wouvermaus  and  Paul 
Potter  among  the  second  class,  make  it  needless  to  say  that  their 
school  was  of  the  first  importance.  Ruysdael  and  Hobbema 
added  new  lustre  to  the  end  of  the  seventeenth  century,  and  it 
only  remains  to  say  that  some  of  the  Dutch  marine  painters,  such 
as  Backhuysen,  Willem  van  der  Velde,  and  Van  de  Capelle 
equalled  the  artists  in  other  departments. 

After  these  earlier  and  principal  painters  of  Holland,  there 
arose  an  army  of  what  are  termed  "  little  Dutch  masters,"  or 
followers  and  imitators  of  the  more  famous  men.  Their  works 
are  seen  in  all  the  principal  galleries  and  collections,  and  are 
chiefly  valuable  as  reproductions  of  the  manner  of  the  greater 
men.  Among  them  were  the  genre  painters  Poelmburg,  Bloem- 
art,  David  Ryckaert,  Brekelenkamp,  Hoogstraten,  and  others  ; 
in  still-life,  Willem  van  Aelst  and  Jan  van  Os  are  well  con- 
sidered ;  in  portraits,  Cornelis  Janssen  and  Adrian  van  de 
Venne,  and  in  views  by  land  and  sea,  and  architectural  subjects, 
Van  Deelen,  Emanuel  de  Witte,  the  Berckheydens,  Van  Ever- 
digen,  the  Van  Steenwyks,  Pieter  van  Laer,  and  Simon  de 
Vlieger  are  good  examples.  The  whole  number  of  Dutch  paint- 
ers of  merit  is  very  large. 

GERMANY. 

The  earliest  German  art  school  was  that  of  Cologne,  and  some 
accounts  of  it  exist  as  far  back  as  the  middle  of  the  fourteenth 
century.  Although  this  early  German  painting  may  be  termed 
uncouth  and  crude,  it  was  also  original,  and  quite  untrammelled 
by  the  influences  of  other  schools.  Among  its  earliest  painters 
were  Wilhelm  von  Koln  and  Stephan  Loethener  or  Lochner, 
who  went  from  Constance  to  Cologne  in  1442.  At  the  time 
when  the  Van  Eycks  and  their  followers  were  making  their 
great  advances  in  Bruges  and  other  Flemish  cities,  a  new  energy 
was  also  apparent  in  Cologne,  and  the  end  of  the  fifteenth  and 
the  beginning  of  the  following  century  was  a  period  of  improve- 


xx  INTRODUCTION. 

ment  there ;  but  the  later  schools  of  Colmar,  Ulm  and  Augsburg, 
all  known  under  the  general  name  of  Suabian  school,  and  that 
of  Nurnburg,  became  the  centres  of  German  art. 

There  is  little  need  to  write  of  the  Holbeins,  who  for  three 
generations  graced  the  Suabian  school,  or  of  Albert  Diirer,  who 
]nade  the  chief  figure  in  that  of  Niirnburg.  Their  manner  and 
works  are  known  as  an  alphabet  in  art,  and  their  pupils  were 
among  the  best  German  painters  of  their  day. 

In  the  sixteenth  century,  Lucas  Cranach,  a  pupil  of  Diirer, 
established  the  Saxon  school,  which  produced  some  notable  men 
in  the  two  following  centuries.  The  familiar  names  of  Deuner, 
Dietrich,  Mengs  and  Angelica  Kaufmann  belong  to  its  later 
period. 

The  works  remaining  from  the  early  school  of  Cologne  are 
remarkable  for  their  calm,  spiritual  feeling,  their  harmonious 
color,  and  tender,  fused  execution  ;  while  the  modelling  of  forms 
shows  the  greatest  anatomical  ignorance,  the  flesh-tints  are  deli- 
cate and  soft,  and  the  modern  observer  of  these  pictures  is 
strangely  divided  between  criticism  of  their  awkwardness  in  de- 
sign and  want  of  perspective  effects  on  the  one  hand,  and  admira- 
tion of  their  sentiment  and  tone  on  the  other. 

The  Suabian  school  was  characterized  by  realistic  tendencies, 
•and  attained  its  highest  excellence  under  Hans  Holbein,  the 
younger,  born  at  Augsburg  at  the  close  of  the  fifteenth  century. 
While  his  pictures  are  the  best,  those  of  other  masters  of  this 
school  tend  to  the  same  effect  in  a  degree  according  with  the 
ability  of  the  different  men,  few  of  whom  could,  like  their  leader, 
represent  all  sorts  of  subjects,  passing  "  from  grave  to  gay,  from 
lively  to  severe,"  with  an  adaptiveness  which  is  surprising  if  con- 
trasted with  the  specialties  in  subjects  of  artists  of  later  times. 
It  is,  however,  generally  considered  that  the  chief  excellence  of 
his  art  was  in  his  portraits,  although  we  are  accustomed  to  re- 
gard the  fantastic  and  bizarre  in  his  works  as  his  distinguishing 
feature,  and  that  of  the  art  of  his  country  and  period  ;  and  indeed 
this  is  true,  since  good  portrait-painting  has  never  been  entirely 
wanting  in  any  school. 

Albert  Diirer  was  the  central  figure  in  the  Niirnburg  school, 
and  was  born  about  a  quarter  of  a  century  earlier  than  the  great 


INTRODUCTION.  xxi 

Holbein  ;  but  his  school  was  of  later  origin  than  the  Suabian, 
and  thus,  in  considering  schools,  the  elder  artist  is  spoken  of 
after  the  younger.  There  were  many  points  of  similarity  be- 
tween these  two  men,  but  there  can  be  little  doubt  of  Diirer's 
superiority  in  depth  and  grandeur  of  thought,  and  in  the  concep- 
tion and  arrangement  of  his  works,  more  especially  in  sacred 
subjects. 

Rich  and  varied  as  was  the  invention  of  Diirer,  and  multiple 
as  were  his  gifts,  —  for  he  was  somewhat  occupied  with  archi- 
tecture and  sculpture,  as  well  as  with  the  arts  of  design,  —  the 
effect  of  his  works,  and  those  of  his  school,  is  now  such  as  to  ex- 
cite wonder  at  their  conceptions,  and  approbation  of  their  industry, 
rather  than  admiration  of  the  results  of  their  labors.  However, 
they  exercised  an  immense  influence  upon  the  art  of  Germany, 
and  that  country  is  justly  proud  of  such  artists  at  such  a  stage 
in  its  art  history. 

Of  the  Westphalian  school,  our  knowledge  is  too  defective  to 
afford  any  certain  speaking.  Two  painters,  whose  names  are 
unknown,  are  the  so-called  "  Master  of  the  Lyversberg  Passion," 
and  the  "  Master  of  Liesborn."  The  first  is  thus  named  from 
the  fact  that  his  principal  work,  a  representation  of  the  Passion 
of  Christ,  in  eight  compartments,  was  once  in  the  collection  of 
M.  Lyversberg,  of  Cologne  ;  the  second  is  named  from  the  Mon- 
astery of  Liesborn,  not  far  from  Minister,  where  his  large  altar- 
piece  was  found  ;  this  is  now  in  the  National  Gallery.  The 
whole  effect  of  these  works  is  that  of  a  lower  style  of  art  than 
belonged  to  the  contemporary  painters  of  some  other  German 
schools. 

The  Saxon  school  may  be  called  a  branch  of  those  of  Suabia 
and  Niirnburg,  for  Matthew  Grunewald  worked  in  Halle ;  and 
more  than  that,  as  has  been  said,  Lucas  Cranach,  or  Sunder, 
one  of  the  pupils  of  Albert  Diirer,  established  himself  in  Saxony, 
and  became  court  painter  to  Frederick  the  Wise,  at  Wittem- 
berg.  ~fa, 

It  is  easily  seen  that  a  school  founded  in  this  wise  could  have 
no  very  original  or  distinctive  features,  neither  did  any  special 
influence  go  out  from  it.  Joachim  Sandrart,  one  of  its  masters, 
was  the  author  of  a  voluminous  history  of  art. 


xxii  INTRODUCTION. 

SPAIN. 

The  art  of  Spain  was  copied  or  borrowed  from  Italy.  The 
great  wealth  of  this  nation  in  the  fourteenth  and  fifteenth  cen- 
turies, and  the  fact  that  pictures  were  readily  purchased  by  the 
king  and  the  church,  induced  many  Italian  artists  to  leave  their 
native  land  where  there  were  such  large  numbers  of  painters, 
and  go  to  a  country  which  made  them  such  golden  returns,  and 
moreover  accorded  them  honorable  treatment,  and  positions  at 
court.  It  is  true  that  different  Spanish  art  schools  are  spoken 
of,  but  they  were  scarcely  such  important  organizations  as  ex- 
isted elsewhere.  The  chief  of  them  were  at  Toledo,  Castile, 
Seville  and  Valencia. 

A  large  proportion  of  the  early  Spanish  artists  were  priests. 
The  manner  in  which  certain  subjects  should  be  represented  was 
prescribed  by  a  rule  of  the  Church,  and  in  the  days  of  the  In- 
quisition the  painter  whose  imagination  led  him  to  indulge  in 
fancies  not  in  strict  accordance  with  these  rules  would  have 
suffered  the  penalty  of  his  act  with  the  same  rigor  as  if  he  had 
painted  an  entirely  different  subject,  and  one  likely  to  be  im- 
moral in  its  effect.  This  fact  is  one  of  the  reasons  why  such  a 
similarity  existed  in  the  arrangement  of  the  compositions  of 
different  painters,  and  that  oftentimes  certain  qualities  in  their 
works  show  an  excellence  which  would  lead  us  to  wonder  that 
the  whole  effect  is  not  better. 

The  Spanish  artists  were  much  in  the  habit  of  studying  in 
Italy,  and  this,  taken  together  with  their  association  with  Italian 
masters  invited  to  Spain  by  its  sovereigns,  gave  the  best  art  of 
the  two  countries  many  characteristics  in  common ;  yet  one  can 
scarcely  fail  to  detect  the  indescribable  something  which  marks 
the  work  of  a  Spanish  painter  of  any  individuality,  and  declares 
it  to  belong  to  the  Peninsula. 

The  stories  of  the  lives  of  many  of  the  Spanish  artists  are 
exceedingly  interesting.  There  is  a  long  list  of  names  on  record 
as  belonging  to  artists  of  Spain,  but  among  them  all  only  a  few 
are  of  major  importance.  Luis  de  Vargas  is  noted  for  having 
first  introduced  oil  painting  into  Seville,  and  he  lived  nearly  two 
centuries  after  Van  Eyck  had  made  his  great  discoveries  in 


INTRODUCTION.  xxni 

Bruges.  This  fact  gives  some  idea  of  the  slowness  with  which 
Spain  took  its  place  in  the  world  of  art ;  indeed,  Del  Rincon, 
whose  name  is  the  earliest  of  note,  was  not  born  until  the  middle 
of  the  fifteenth  century,  and  it  was  not  until  1699  that  Velasquez 
was  born,  who,  with  his  pupil  Murillo,  made  the  greatest  glory 
of  the  art  of  Spain. 

Perhaps  the  greatest  name  in  the  school  of  Toledo  is  that  of 
Luis  Tristan ;  Becerra,  who  was  an  architect  and  sculptor,  as 
well  as  a  fresco  painter,  gave  lustre  to  the  school  of  Castille ; 
Seville  has  the  honor  of  being  the  city  of  De  las  Roelas,  the 
Herreras,  Velasquez  and  Murillo,  besides  other  noted  men,  while 
the  school  of  Valencia  boasted  the  Ribaltas  and  Ribera,  or  "  Lo 
Spagnoletto."  Many  Spanish  artists  can  only  be  appreciated 
or  understood  after  a  visit  to  their  country,  as  their  best  works 
are  there,  and,  indeed,  there  are  some  of  them  whose  pictures 
are  scarcely  to  be  seen  outside  of  it. 

FRANCE. 

France,  like  Spain,  had  no  very  early  school  of  art,  and,  in- 
deed, it  may  be  said  never  to  have  had  but  one  —  the  French 
school.  In  the  beginning,  as  was  also  the  case  in  Spain,  the  im- 
petus came  from  Italy  into  France,  through  the  artists  of  that 
country  who  were  employed  to  decorate  the  palaces  of  the 
French  kings  —  French  painting  does  not  date  earlier  than  the 
sixteenth  century,  and  of  the  artists  of  that  age  so  little  is  clearly 
known,  that  it  is  not  until  the  seventeenth  century  that  the  his- 
tory of  French  art  becomes  clear  and  satisfactory. 

The  earlier  French  painters  adopted  the  custom  of  studying 
in  Italy,  and  this  custom  has  always  been  maintained.  The 
prix  de  Rome  has  ever  been  the  great  desideratum  to  the  stu- 
dents of  the  Academic  des  Beaux- Arts. 

L<  Sueiir  is  the  first  painter  of  repute  who  made  all  his  studies 
in  his  own  country.  lie  was  born  in  1617,  and  was  scarcely 
valued  as  he  should  have  been  while  living  and  painting  beside 
his  rival,  Le  Brun.  In  later  days  Le  Sueur  has  been  called 
"  the  Raphael  of  France." 

Le  Brun  painted  religious  subjects  chiefly,  Mignard  and  Ri- 
gaud  made  themselves  famous  by  their  portraits ;  but  it  was  not 


xxiv  INTRODUCTION. 

until  Watteau,  inspired  by  the  picturesque  costumes  and  habits 
of  the  'court,  began  to  make  his  pictures  of  the  life  about  Louis 
XIV.,  that  the  manner  which  we  call  that  of  the  French  school 
was  recognized  as  an  individual  type  of  art.  Before  this,  French 
painters  had  adhered  to  the  traditions  of  the  classical  schools. 
After  this,  the  departure  having  been  made,  individuality  and 
the  distinctive  French  element  were  allowed  to  fill  their  office. 

In  animal  painting,  Despartes  and  Audry  held  high  rank. 
Chardin  raised  still-life  subjects  to  an  important  place ;  Greuze 
contributed  his  attractive  genre  pictures  ;  Claude  Joseph  Vernet 
did  much  for  French  marine  painting ;  Vien  revived  classic  art, 
and  David  carried  this  to  an  extreme.  Thus  French  art,  in  its 
various  departments,  was  brought  down  to  the  present  century. 
Of  course  there  were  men  of  note  not  mentioned  here,  and  they 
all  had  their  pupils  and  followers  ;  but  the  principal  leaders  have 
been  named,  and  the  rise  and  progress  of  this  very  important 
school  are  thus  briefly  outlined. 

ENGLAND. 

English  art  can  be  said  to  have  existed  only  since  the  reign 
of  Charles  I.  Before  his  time,  miniature  painting  alone  was 
practised  by  his  countrymen.  Several  English  sovereigns  had 
employed  foreign  artists  to  execute  important  commissions,  but 
not  until  the  beginning  of  the  seventeenth  century  did  Dobson 
and  Stone,  both  portrait  painters,  begin  to  lay  the  foundation  of 
the  art  of  their  own  country.  Sir  Peter  Lely  and  Sir  Godfrey 
Kneller  are  accredited  to  England,  yet  they  were  of  foreign  birth, 
and  no  pupil  of  theirs  claims  any  especial  attention. 

Thus  it  is  essentially  true  that  William  Hogarth,  born  in 
1697,  whose  works  belong  to  the  eighteenth  century,  was  the 
first  notable  man  of  the  English  school.  His  subjects  were  not 
of  great  interest,  when  considered  from  an  exclusively  artistic 
standpoint,  but  he  was  a  master  in  the  arrangement  of  his  com- 
positions, in  expression  and  color. 

A  few  years  after  Hogarth,  Sir  Joshua  Reynolds,  who  had 
profited  by  several  years  of  travel  on  the  continent,  rose  to  the 
first  place  in  the  art  of  his  country.  He  was  feeble  in  design, 
but  had  a  certain  delicacy  and  elegance  which  made  his  works 


INTRODUCTION.  xxv 

very  popular  in  his  day,  and  still  render  them  attractive  ;  un- 
fortunately, many  of  them  are  much  deteriorated  in  color.  As 
first  president  of  the  society  of  artists  which  eventually  became 
the  Royal  Academy,  Reynolds  exercised  much  personal  power, 
and  was,  moreover,  made  an  authority  through  his  "  Discourses." 
Few  artists  have  ever  excelled  him  in  the  ability  to  pose  his 
sitters,  or  in  the  arrangement  of  all  those  details  and  accessories 
which  are  so  effective  in  skilful  hands.  Although  he  painted 
various  subjects,  it  is  as  a  portrait  painter  that  he  is  important. 

For  many  years,  English  paiuters  almost  confined  themselves 
to  portraits,  though  gradually  landscapes  began  to  receive  a 
share  of  attention,  until  it  resulted  that  the  technical  expression, 
"  English  school,"  was  more  applicable  to  a  certain  sort  of  land- 
scape painting  than  to  any  other  kind  of  pictures.  Gainsborough 
was  one  of  the  most  important  English  masters  in  this  depart- 
ment, and  the  variety  in  his  treatment  of  his  various  subjects  at 
times  recalls  the  manner  of  Hobbema,  and  the  masters  of  the 
Dutch  school;  again,  his  use  of  glowing  colors  suggests  the 
effects  of  the  warm,  southern  pictures  of  the  best  painters  of 
the  Venetians. 

The  little  here  said  is  sufficient  to  indicate  the  course  of  P^ng- 
lish  art,  which,  with  a  few  —  and  these  not  very  important  —  ex- 
ceptions, flowed  on  in  the  same  channel  to  the  end  of  the 
eighteenth  century,  beyond  which  point  this  present  volume 
does  not  go.  In  the  second  half  of  the  last-named  period  the 
English  school  of  water-color  painting  was  established.  In  this 
manner  of  painting,  very  especially  as  used  in  landscapes,  English 
artists  have  led  all  others,  and  have  an  impetus  in  this  direction 
which  has  been  felt  in  other  countries. 


A  CHRONOLOGICAL  TABLE 


OF   THE 


PRINCIPAL   PAINTERS    OF   THE    ITALIAN    SCHOOLS, 
WiTH  DATES  OF  BIRTH  AND  DEATH. 


Sienese  School. 

Birth.  Death. 

Guido  da  Siena  dated  a  picture  1221 

Bonaventura  Berlinghieri  dated  a  picture  1236   ....  — 

}•  Duccio  di  Buonineegna  painted  in  1282 — 

Segna  di  Buonaventura  painted  1305-19 — 

—  Simone  di  Martino  (Memmi)          1283  1344 

Pietro  Lorenzetti 7317  1355 

Lippo  Memmi  painted  in  1317 —  1356 

Taddeo  di  Bartolo 1362  1422 

Bazzi,  or  Razzi  (II  Sodoma) 1477  1549 

Florentine  School. 

Gaddo  Gaddi 1239  1312 

^,>"Cimabue  (Giovanni  Gaultieri)    .     .    .  •? 1240  1302? 

(iiotto  (di  Bondone) 1276  1336 

BuflTalmacco  (Buonanico  di  Cristofano)  painted  about 

1302-1351 —          — 

•'Taddeo  Gaddi,  last  date  1366 1300        — 

Jacopo  di  Casentino 1310  1390 

Giottino  (Tommaso) 1324        — 

Agnolo  Gaddi 1325  1396 

Andrea  di  Cione  (Orcagna)  painted  about  1340-75  ...  —  1389 

Masolino 1383  1440 

^ra  Angelico  (Giovanni  Guido) 1387  1455 

Paolo  Uccello 1396  1479 

/Masaccio 1402  1429 

^  Fra  Filippo  Lippi     .    .    ,    . 1412  1469 


xxvii/  TABLE  OF  PRINCIPAL  PAINTERS. 

Birth.  Death. 

Benozzo  Gozzoli 1424  1485 

Antonio  Pollajuolo 1433  1498 

Andrea  Verrocchio 1432  1488? 

Cosimo  Rosselli 1439  1506 

Piero  di  Cosimo 1441  1521 

Luca  Signorelli 1441  1521 

Sandro  Botticelli 1447  1515 

Domenico  Ghirlandajo 1449  1498 

Lorenzo  di  Credi , 1459  1537 

Filippino  Lippi 1460  1505 

Raffaellino  del  Garbo 1466  1524 

Fra  Bartolommeo  (Baccio  della  Porta) 1469  1517 

Guiliano  Bugiardini 1471  1554 

Mariotto  Albertinelli 1474  1515 

Michael  Angelo  (Buonarotti) 1475  1564 

Francesco  Granacci 1477  1543 

Andrea  del  Sarto  (Vammcchi) 1488  1530 

Jacopo  Pontormo 1494  1556 

Bronzino 1502  1572 

Daniele  da  Volterra 1509  1566 

Giorgio  Vasari 1512  1574 

Alessandro  Allori 1535  1607 

Ludovico  Cardi  da  Cigoli 1559  1613 

Francesco  Vanni 1563  1609 

Cristofano  Allori 1577  1621 

Matteo  Rosselli 1578  1650 

Domenico  Feti .    .  1689  1624 

Carlo  Dolci .  1616  1686 


Roman  School. 

Pietro  Cavallini 1259?  1344 

Raphael  Sanzio 1483  1520 

Giovanni  Francesco  Penni 1488  1528 

Francesco  Primaticcio 1490  1670 

Innocenzio  da  Imola 1490  1549 

Giulio  Romano  (Pippi),  about 1492  1556 

Federigo  Barocci,  or  Baroccio 1528  1612 

Cesare  d'Arpino 1567  1640 

Bartolommeo  Schedone 1580  1615 

Giovanni  Lanfranco 1581  1647 

Pietro  da  Cortona 1696  1669 

Andrea  Sacchi 1598  1661 

Pietro  Francesco  Mola 1612  1668 

Carlo  Maratta  .  1625  1713 


TABLE  OF  PRINCIPAL  PAINTERS.  xxix 
Bolognese  School. 

Birth.  Death. 

Vitale  da  Bologna,  painted  1320-1345 

Siraone  Crocefissi       "        1370 *.  — 

Jacopo  Avanzi             "        1370-1380 — 

Marco  Zoppo              "       1471-1498 — 

Francesco  Francia 1450  1517 

Lorenzo  Costa 1460  1535 

Ludovico  Caracci 1556  1619 

Agostino  Caracci 1558  1601 

Annibale  Caracci 1560  1609 

,  Guido  Reni :  1575  1642— 

J  Lionello  Spada 1576  1622 

Alessandro  Tiarini 1577  1668 

Francesco  Albani 1578  1660 

Domenico  Zampieri  (Domenichino) 1581  1641 

Giovanni  da  San  Giovanni 1590  1636 

Francisco  Barbieri  (Guercino) 1590  1666 

Guido  Cagnacci 1601  1681 

Giovanni  Battista  Salvi  (Sassoferrato) 1C05  1685 

Simone  Cantarini  (II  Pesarese) 1612  1648 

Elisabetta  Sirani 1638  1665 

Paduan  School. 

Justus  of  Padua —  1400 

Francisco  Squarcione 1394  1474 

Andrea  Mantegna 1430  1506 

Venetian  School. 

Gentile  da  Fabriano,  about 1370  1450 

Jacobello  del  Fiore  painted  1400-1439 

Jacopo  Bellini 1395  1470 

Gentile  Bellini 1421  1507 

Giovanni  Vivarini  (da  Murano)  painted  1440-1447      .    .  — 

Antonio  Vivarini  painted  1440-1470 — 

Bartolorameo  Vivarini  painted  1450-1500 — 

Giovanni  Bellini 1426  1516 

Luigi  Vivarini,  painted  1464-1503 

Antonello  da  Messina,  painted  1465-1495? 

Vittore  Carpaccio,  about 1460  1520 

Cima  da  Conegliano,  painted  1489-1517 — 

Carlo  Crivelli,  about 1468  1537 

Jacopo  Palma  (II  Vecchio) 1475  1628 

-Tiziano  Vicellio  (Titian) 1477  1676 


xxx  TABLE   OF  PRINCIPAL  PAINTERS. 

Birth.  Death. 

Giorgio  Barberelli  (Giorgione) 1477  1511 

Giovanni  Antonio  Licinio  (Pordenone) 1483  1539 

Sebastiano  del  Piombo 1485  1547 

Bonifazio  Veneziano 1494  1563 

Paris  Bordone 1500  1576 

Jacopo  da  Ponte  (II  Bassano) 1510  1592 

Marco  Belli,  painted  1511 — 

Jacopo  Robusti  (II  Tintoretto)  .    .    . 1512  1594 

Bernardino  da  Pordenone 1620  1570 

Andrea  Schiavone 1522  1582 

Paolo  Cagliari,  or  Caliari  (Veronese) 1528  1588 

Jacopo  Palma  (II  Giovane) 1544  1628 

Alessandro  Varotari  (II  Padovanino) 1590  1650 

Sebastiano  Ricci       1662  1734 

Giovanni  Battista  Tiepolo 1692  1769 

Antonio  Canale  (Canaletto)       .    . 1697  1768 

Francesco  Zuccherelli 1702  1788 

Francesco  Guardi 1712  1793 

Bernardo  Bellotto  1720  1780 


Modenese  School. 


Tommaso  of  Modena,  painted  1350-1360 
Barnaba  of  Modena,          "       1367-1380 


Neapolitan  School. 

Antonio  Solario  (II  Zingaro) 1382  1455 

Michael  Angelo  Araerighi  (Caravaggio) 1569  1609 

Aniello  Falcone 1594  1665 

Salvator  Rosa 1615  1673 

Luca  Giordano  (Fa  Presto) 1632  1705 

Umbrian  School. 

Piero  della  Francesca,  about 1415  1509 

Benedetto  Bonfigli,  about 1420  1496 

Giovanni  Santi 1435  1495 

Melozzo  da  Forli,  about 1438  1494 

Niccolo  Alunno  (di  Foligno)  painted  1458-1499  .... 

Perugino  (Pietro  di  Vannucci) 1446  1524 

Pinturricchio  (Bernardino  di  Betto)  ........  1454  1513 

L'Ingegno  (Andrea  Luigi) 1470  1566 

Lo  Spagna'( Giovanni  di  Pietro),  first  record  1507 ;  last 

record  1528    .  —          — 


TABLE   OF  PRINCIPAL  PAINTERS.  xxxi 

r 

Ferrarese  School. 

Birth.  Death. 

Cosimo  Tura 1430  1496 

Dosso  Dossi,  about 1474  1558 

Benvenuto  Tisio  (II  Garofalo) 1481  1559 

Veronese  School. 

Domenico  Morone  of  Verona,  last  record  1503   ....  1442  — 

Liberate  da  Verona 1461  1536 

Giovanni  Carotto 1470  1546 

Francesco  Morone 1473  1529 

Girolamo  dai  Libri 1474  1556 

Paolo  Morandi  (Cavazzola) 1486  1522 

Lombard  School. 

-Leonardo  da  Vinci 1452  1519 

Ambrogio  Borgognone,  about 1455  1525 

Andrea  da  Salario,  about 1458  1530 

Bernardino  Luini,  about 1460  1530 

Giovanni  Antonio  Beltraffio 1467  1616 

Cesare  da  Sesto 1480  1621 

Gaudenzio  Ferrari 1484  1649 

Bernardino  Lanini 1508  1578 

Ercole  Procaccini 1520  1690 

Camillo  Procaccini 1646  1626 

Giulio  Cesare  Procaccini «...  1548  1626 

Giovanni  Battista  Crespi 1657  1633 


TABLE 


OF  THE 


PRINCIPAL  PAINTERS   OF  THE  FLEMISH  SCHOOL, 


Birth.      Death. 

Jean  van  der  Asselt  painted  1364 — 

Melchior  Broederlain  painted  1382-1401 — 

Jean  Malwel,  or  Melhuel  painted  1392 —        1416 

School  of  Bruges. 

Hubert  van  Eyck 1366      1426 

Jan  van  Eyck,  about 1386      1440 

Petrus  Christus  painted  1444-1471 

Hans  Memling 1430?     1495 

Gherardt,  David,  painted  1487 1523 

Jacques  van  Oost  (elder) 1600      1671 

Jacques  van  Oost  (younger) 1639      1713 

Tournai. 

Rogier  van  der  Weyden,  or  Van  Brigge 1400      1464 

Louvain. 
Dierick  Stuerbout,  or  Bouts,  earliest  date  1450    ....      —        1475 

School  of  Ghent. 

Hugo  van  der  Goes 1468      1482 

Justus  of  Ghent 1468        — 

Gerard  van  der  Meire,  dates  1447-1474 — 

School  of  Antwerp. 

Quintin  Metsys 1466      1529 

Jan  Gossaert  Mabuse ,    .    .    .  1470      1532 

Frans  Floris     ...  ,...'. 1520      1570 


TABLE   OF  PRINCIPAL  PAINTERS,  xxxiii 

Birth.  Death. 

Martin  deVos     .     .     .    • 1531  1603 

Frans  Pourbus  (elder)  . 1540  1580 

PaulBril 1556  1626 

Otho  van  Veen,  or  Vaenius    .     , 1558  1629 

Frans  Pourbus  (younger) 1570  1622 

Pieter  Neefs  (elder),  about 1570  1651 

/x-;Peter  Paul  Rubens    .    .     .     .    v 1577  1640 

Frans  Snyders * 1579  1657 

David  Teniers  (elder) 1582  1649 

Gaspard  de  Grayer 1582  1669 

Cornells  de  Vos 1585?  1661 

Daniel  Seghers 1590  1661 

Jacob  Jordaens 1593  1678 

Justus  Sustermans 1597  1681 

£<Anton  van  Dyck 1599  1641 

Pieter  Neefs  (younger) 1600  1675 

Theodore  van  Shulden 1607  1676 

Erasmus  Quellinus 1607  1678 

Abraham  Diepenbeck 1607  1675 

David  Teniers  (younger) 1610  1694 

Gonzales  Coques 1614  1684 

JanFyt 1625  1671 

Abraham  Teniers 1629  1671 

Cornells  Huysmans 1648  1727 

Alexander  Adrianssen  (younger) 1625  1685 

Clara  Peeters    . 


School  of  Brussels. 

Bernard  van  Orley    . 1470  1541 

Pieter  Breughel  (elder) 1530  1569 

Jan  Breughel  (called  Velvet) 1568  1626 

Philippe  de  Champaigne 1602  1674 

Jan  van  Essen 1607  1662 

Anton  F.  van  der  Meulen 1634  1690 


Mechlin. 
Michiel  van  Coxcyen,  or  Coxie 1499      1692 

Liege. 

Lambert  Lombard  (Sustermann) 1506      1566 

J.  G.  de  Lairesse ,          1640      1711 


TABLE 


OP   THE 


PRINCIPAL   PAINTERS   OF  THE  DUTCH   SCHOOL. 


School  of  Haarlem. 

Gerhard,  or  Geerit  van  Haarlem  (or  of  St.  Jans),  date  Birth.  Death. 

unknown  — 

Martin  van  Heemskerck 1498  1574 

Cornells  van  Haarlem T    .     .  1562  1638 

Hendrik  Vroom • 1566  1640 

Frans  Hals 1584  1666 

Jan  Wynants,  about 1600  1677 

Adrian  Brouwer 1608  1640 

Gerhard  Terburg 1608  1681 

Adrian  van  Ostade 1610  1685 

Bartholomew  van  der  Heist 1613  1670 

Pieter  van  Laer , 1613  1673 

Isaac  van  Ostade 1617  1671 

Philip  Wouvermans 1619  1668 

Cornelis  Bega 1620  1664 

Nicholas  Berchem 1624  1683 

Jacob  Ruysdael 1625  1681 

Job  Berkheiden 1630  1698 

Gerrit  Berkheiden 1638  1693 

,      Meinder  Hobbema 1638  1709 

Jan  van  Hugtenburg 1646  1733 

Cornelis  Dusart 1660  ^1704 

School  of  Leyd.en. 

Cornelis  Engelbertsz 1468  1533 

Lucas  van  Leyden 1494  1533 

Jan  van  Goyen 1596  1656 

Rembrandt  van  Ryn 1606  1669 

Emanuel  de  Witte 1607  1692 

Gerhard  Dow    .                                                            ...  1613  1675 


TABLE  OF  PRINCIPAL  PAINTERS.  xxxv 

Birth.  Death. 

Gabriel  Metsu,  about 1615  1667 

/•'Jan  Steen 1626  1679 

Frans  van  Mieris  (elder) 1635  1681 

Pieter  van  Slingeland 1640  1691 

Adrian  de  Vois,  about 1641  1698 

Willera  van  Mieris 1662  1747 

Frans  van  Mieris  (younger) 1689  1763 


School  of  Utrecht. 

Jan  Schoreel,  or  Schoorl 1495  1562 

Paul  Moreelse 1571  1638 

Cornelis  van  Poelenburg 1586  1667 

Gerard  van  Honthorst 1592  1660 

Jan  David  de  Heem 1600  1674 

Jan  Both,  about .    .    .     .  1610  1656 

Andries  Both,  about 1610  1656 

Cornelis  de  Heem 1623  — 

Melchior  Hondekoeter 1636  1695 

Abraham  Mignon      .    .    .    .  • 1639  1679 

School  of  Delft. 

Michael  Janszoon  (Van  Mierevelt) 1667  1641 

Adrian  van  der  Venne 1589  1662 

Hendrik  Vliet,  about 1605  1661 

Willem  van  Aelst 1620  1679 

Adam  Pynacker. 1621  1673 

Jan  van  der  Meer  1632  1695 


School  of  Amsterdam. 

Abraham  Bloemart,  about 1567  1647 

Theodor  de  Keyser 1595?  1659 

Cornelis  Janssen 1595?  1665 

Salomon  Koning 1609  1668 

Ferdinand  Boe 1611  1681 

Govert  Flinck 1615  1660 

Artus  van  der  Neer • 1619  1683 

Philip  de  Koningh 1619  1689 

Jan  Battista  Weenix .     .     .  1621  1660 

Gerbrandt  van  der  Eckhout .  1621  1674 

Paul  Potter 1625  1664 

Jan  Lingelbach 1625  1687 

KarlDujardin 1630  1678 


xxxvi  TAtfLE  OF  PRINCIPAL  PAINTERS. 

Birth.  Death 

WilleraKalf 1630  1693 

Ludolf  Backhuysen 1631  1709 

Frederik  Moucheron 1633  1686 

Willera  van  de  Velde 1633  1707 

Jan  van  de  Capelle .  1635  — 

Jan  Hackaert,  about 1636  1708 

Jan  van  der  Heyden 1637  1712 

Adrian  van  der  Velde   .  , 1639  1672 

Jan  Weenix 1644  1719 

Rachel  Ruysch 1664  1750 

Jan  van  Huysum 1682  1749 


School  of  the  Hague. 

Johannis  van  Ravesteyn 1572  1657 

Hendrik  van  Steenwyk,  about 1580  1648 

Daniel  My  tens,  about 1590  1656 

Gaspard  Netscher 1639  1684 

Jan  van  Os  .  1744  1808 


School  of  Rotterdam. 

Simon  de  Vlieger,  about 1604        — 

E.  van  der  Poel,  painted  1646-1654 

Michael  van  Musscher 1645  1705 

Adrian  van  der  Werff  .  1651  1722 


School  of  Dordrecht. 

Albert  Cuyp 1605  1691 

Dirk  Stoop,  about 1610  1688 

Samuel  van  Hoogstraten 1627  1678 

Pieter  de  Hooghe 1628?  1671 

School  of  Dort. 

Nicholas  Maas,  or  Maes 1632  1693 

Godfried  Schalken    ,  1643  1706 


TABLE 


OF   THE 


PEINCIPAL  PAINTEES  OF  THE  GEEMAN  SCHOOLS. 


School  of  Cologne. 

Birth.  Death. 

Wilhelm  von  Koln,  first  date  1358 — 

Stephan  Loclmer,  or  Loethener,  first  date  1426    ....  —         — 

Master  of  the  "  Death  of  the  Virgin,"  15th  century     .    .  — 

Bartholomew  de  Bruyn 1492  1556 

The  Swabian  School. 

y  Martin  Schongauer,  or  Scho'n 1420  1499 

Matthew  Griinewald 1460  1530 

School  of  Ulm. 

Bartholomew  Zeitblom,  first  date  1450 —  1517 

Martin  Schaffner 1508  1535 

School  of  Augsburg. 

v — Hans  Holbein  (elder) 1460  1523 

Hans  Burgkmair 1472  1559 

Christopher  Amberger 1490  1568 

Hans  Holbein  (younger) 1495  1543 

School  of  Niirnberg. 

Michael  Wohlgemuth 1434  1519 

Israel  von  Meckenen 1440  1503 

Albrecht  Diirer 1471  1528 

Albrecht  Altdorfer 1485  1538 

Bartholomew  Beliam 1496  1540 

Hans  Sebald  Beham 1500  1550 

GeorgPencz 1500  1550 


xxxviii  TABLE  OF  PRINCIPAL  PAINTERS. 

School  of  Westphalia. 

Birth.  Death. 

Master  of  Leisborn,  date  1465 — 

Master  of  Lyversberg,  painted  1463-1490    ......  — 

The  Saxon  School. 

Lucas  Cranach,  or  Sunder 1472  1553 

Lucas  Cranach  (the  younger) 1515  1586 

Johann  Rottenhammer 1564  1623 

Adam  Elzheimer 1574  1620 

Joachim  Sandrart 1606  1688 

Johaim  H.  Roos 163V  1685 

Balthasar  Demur 1685  1749 

Christian  Nietrich 1712  1774 

Anton  Raphael  Mengs 1728  1778 

Angelica  Kaufmann  ....         1742  1808 


TABLE 


OF   THE 


PRINCIPAL  PAINTERS  IN  THE  SPANISH  SCHOOLS. 


School  of  Toledo. 

Birth.  Death. 

V  Antonio  del  Rincon 1446  1500 

Luis  de  Morales  (El  Divino) 1510  1586 

..   Domenico  Theotocopuli,  or  Teoscopolo  (called  II  Greco,  or 

El  Griego) 1548  1625 

Luis  Tristan  1586  1640 


School  of  Castile. 

Alonso  Berreguete 1480  1561 

Alonso  Sanchez  Coello,  about 1515  1590 

Gaspar  Becerra 1520  1570 

Juan  F.  Navarrete  (El  Mudo) 1526  1579 

Vicente  Carducho 1572  1639 

J.  B.  Martinez  del  Mazo —  1667 

JuanPareja 1610  1670 

Juan  Carreno  de  Miranda 1614  1685 

Diego  Gonzales  de  la  Vega 1622  1697 

Claudio  Coello .     .  1635  1693 


School  of  Seville. 

Luis  de  Vargas 1502  1568 

Pablo  de  Cespedes 1538  1608 

A.  Vasquez,  dates  about  1580-1610 — 

Juan  de  las  Roelas 1558  1625 

Francesco  Pacheco 1571  1654 

Francisco  Ilerrera  (El  Viejo) 1576        — 

Francisco  Zurbaran 1598  1662 

Diego  Velasquez  de  Silva 1599  1660 

Antonio  del  Castillo 1603  1667 

Pedro  de  Moya 1610  1666 


xl  TABLE   OF  PRINCIPAL  PAINTERS. 

Birth.  Death. 

I  'Bartolome'  Esteban  Murillo 1618  1682 

Sebastian  Gomez  (servant  of  Murillo),  about 1620  — 

Francisco  de  Herrara  (El  Mozo) 1622  1685 

Juan  de  Valdes  Leal 1630  1691 

Alonso  Miguel  de  Tobar 1678  1758 


School  of  Valencia. 

Vicente  Joanes,  about 1506  1579 . 

Francisco  de  Ribalta 1550  1628 

Jose'  de  Ribera  (Lo  Spagnoletto) 1588  1656 

Juan  de  Ribalta 1597  1628 

Alonso  Cano  was  of  Granada,  and 1601  1667 

Francisco  Goya  was  of  Madrid 1746  1825 

I 


TABLE 


PRINCIPAL   PAINTERS    OF  THE   FRENCH    SCHOOL. 


Jan  Foucquet  and  the  two  Jehan  Clouet,  father  and  son, 

flourished  from  1460  to  1541  —  no  very  exact  dates  Birth.  Death, 

can  be  given — 

Jean  Cousin  about 1600  1590 

Fra^ois  Clouet,  about 1510  1574 

Martin  Fre'minet 1567  1619 

Louis  Lenain,  about 1583  1648 

Simon  Vouet 1592?  1641 

Nicolas  Poussin 1594  1665 

Moise  Valentin 1600  1632 

Claude  Gele'e  (Lorraine) 1600  1682 

L.  de  la  Hire 1606  1656 

Pierre  Mignard 1612  1695 

Caspar  Dughet  (Poussin) 1613  1675 

SeT>astien  Bourdon 1616  1671 

Eustache  Le  Sueur 1617  1655 

Charles  Le  Brun 1619  1690 

J.  Courtois  Bourguignon 1621  1676 

Noel  Coypel 1628  1707 

Jean  Baptiste  Monnoyer 1634  1699 

J.  B.  Santerre 1650  1717 

Nicolas  de  Largilliere , .    :     .  1656  1746 

Hyacinth  Rigaud 1659  1743 

Antoine  Coypel 1661  1722 

Francois  Desportes 1661  1743 

JeanJouvenet 1664  1717 

J.  Fran9ois  de  Troy 1680  1752 

Antoine  Watteau 1684  1721 

J.  B.  Vanloo 1684  1745 

Jean  Baptiste  Oudry 1686  1755 

Francois  Lemoine 1688  1737 

Nicolas  Lancret    ,                                     , 1690  1743 


xlii  TABLE  OF  PRINCIPAL  PAINTERS. 

Birth.  Death. 

L.  Tocque 1696  1772 

J.  B.  Joseph  Pater 1696  1736 

Pierre  Subleyras 1699  1749 

Simeon  Chardin 1699  1779 

Francois  Boucher 1704  1768 

Charles  Vanloo 1705  1765 

Joseph  Marie  Vien 1710  1809 

Claude  Joseph  Vernet 1714  1789 

Jean  Baptiste  Greuze 1725  1805 

Jean  Honore'  Fragonard 1732  1806 

Jacques  Louis  David 1748  1825 


TABLE 


OF   THE 


PRINCIPAL  PAINTERS   OF  THE  ENGLISH   SCHOOL. 


Birth.  Death. 

Nicholas  Hilliard 1547  1619 

Isaac  Oliver 1555  1617 

George  Jamesone 1586  1644 

Samuel  Cooper 1609  1672 

William  Dobson 1610  1646 

Henry  Anderton —  1665 

Sir  Peter  Lely 1618  1680 

John  Riley 1646  1691 

Sir  Godfrey  Kneller 1646  1723 

Charles  Jervas 1675  1739 

Sir  James  Thornhill 1676  1734 

William  Hogarth       1697  1764 

Thomas  Hudson 1701  1779 

Francis  Hayman 1708  1766 

Richard  Wilson 1713  1782 

Allan  Ramsay 1713  1784 

Sir  Joshua  Reynolds 1723  1792 

Francis  Cotes 1725  1770 

Thomas  Gainsborough 1727  1788 

Sir  Nathaniel  Dance 1734  1811 

George  Romney 1734  1802 

P.  J.  de  Loutherbourg 1740  1812 

James  Barry 1741  1806 

Henry  Fuseli 1741  1825 

David  Allan 1744  1796 

John  Cozens 1752  1799 

John  Hoppner 1753  1810 

Sir  Francis  Bourgeois 1756  1811 

Henry  Raebura 1756  1823 

William  Blake 1767  1828 

JohnOpie 1761  1807 

George  Morland 1763  1804 

Thomas  Girtin                                                            .     .     .  1773  1802 


PAINTERS,   SCULPTORS,   ARCHITECTS 
ENGRAVERS,  AND   THEIR  WORKS. 


A. 

Aalst  or  Aelst,  Evert  or  Everhard  Van,  born  at  Delft  (1602- 
1658).  Painted  dead  birds,  game,  instruments  of  the  chase,  armor, 
vases,  etc.,  with  great  exactness  in  detail.  He  sometimes  used  a 
clear  or  white  ground,  which  is  very  effective.  His  characteristics 
were  truthfulness  and  heaviness  of  tone.  Dresden  Gall.,  Nos.  1126, 
1127;  Berlin  Mus.,  921,  936. 

Aalst  or  Aelst,  Wilhelm  or  William  Van,  born  at  Delft,  1620; 
died  at  Amsterdam,  1679.  The  nephew  and  pupil  of  Everhard, 
whom  he  much  excelled.  He  also  painted  still  life,  dead  birds,  oys- 
ters, herrings,  etc.  His  favorite  subjects  were  fruit  and  other  eat- 
ables, with  accessories  of  glass  and  rich  vessels  of  gold  and  silver. 
He  spent  some  years  in  France  and  Italy.  Was  employed  by  the 
Grand  Duke  of  Tuscany,  who  presented  him  with  a  gold  medal  and 
chain.  He  returned  to  Holland  in  1656,  where  his  works  were  in 
great  demand.  They  are  of  exquisite  polish  and  finish.  Dresden 
Gall.,  Nos.  1128,  1129,  1130  ;  Berlin  Mus.,  975. 

Abate,  Andrea,  called  Belvedere.  Said  to  have  died  in  1732; 
but  there  are  reasons  for  believing  that  he  died  several  years  earlier 
than  that  time.  He  was  a  Neapolitan,  and  excelled  in  painting 
(lowers,  fruit,  etc.  He  was  employed  by  Charles  II.  of  Spain,  and 
together  with  Luca  Giordano,  who  painted  figures,  executed  a  part 
of  the  ornamentation  of  the  Escurial. 

Abbate,  or  dell'  Abate,  Niccolo.  Called  also  Niccolo  da  Modena. 
Born  at  Modena,  1509  ;  died  at  Paris,  1571.  He  was  a  pupil  of  Bega- 
relli,  and,  it  is  supposed,  of  Correggio,  which  opinion  is  confirmed 
1»\  his  knowledge  of  foreshortening.  Algarotti  enumerated  him 
"  among  the  first  that  had  adorned  the  world."  His  frescoes  in  Bo- 
logna were  models  for  the  Caracci ;  and  Agostino  Caracci  said  in  a 
sonnet,  that  in  Niccolo  were  united  the  symmetry  of  Raphael,  the 
terror  of  Michael  Angelo,  the  truth  of  Titian,  the  dignity  of  Cor- 
reggio, the  composition  of  Tibaldi,  and  the  grace  of  Parmigianino. 
1 


2  ABBATE  —  ABSHO  VEN. 

At  the  Castle  of  Scandiano  he  executed  twelve  scenes  from  the 
^Eneid,  which  are  now  in  the  Florence  Gallery.  He  painted  his  fres- 
coes so  correctly  that  he  seldom  retouched  them  ;  this  was  the  secret 
of  his  beautiful  coloring.  At  Bologna  he  painted  a  beautiful  "  Na- 
tivity "  in  the  portico  of  the  Lions,  and  in  a  frieze  in  the  hall  of  the 
Institute  his  celebrated  "  Conversazione,"  of  ladies  and  youths.  In 
1552  he  accompanied  Primaticcio  to  Fontainebleau,  and  painted 
thirty-eight  scenes  from  the  history  of  Ulysses,  from  the  designs  of 
that  master.  After  Primaticcio  died,  Niccolo  was  employed  by  the 
French  court  during  his  life.  His  "Beheading  of  S.  Paul"  is  at 
Dresden ;  and  "  The  Rape  of  Proserpine,"  with  a  "rich,  fantastically 
lighted  landscape,"  is  at  Stafford  House  Gall. 

Abbiati,  Filippo,  born  at  Milan  (1640-1715).  Pupil  of  "  il  Pan- 
filo."  A  man  of  great  talent  and  powers  of  invention ;  well  fitted 
for  colossal  labors.  He  competed  with  Federigo  Bianchi,  at  Milan, 
in  painting  the  ceiling  of  S.  Alessandro  Martire.  One  of  his  best 
works  was  the  "  Preaching  of  S.  John  the  Baptist,"  at  Sarono. 

Abbot,  Lemuel,  born  at  Leicestershire,  England ;  died  1803.  Pupil 
of  Francis  Hayman.  Truthfulness  was  his  characteristic,  and  por- 
traits of  men  his  best  works.  Those  of  "  Cowper  "  and  "Lord 
Nelson  "  were  especially  fine. 

Abel  de  Pujol,  Alexander  Denis,  born  at  Valenciennes  (1787- 
1861).  Succeeded  Gros,  and  became  a  member  of  the  Institute  in 
1835.  He  painted  "  The  History  of  Joseph  "  on  the  ceiling  of  the 
Antique  Museum  of  the  Louvre.  In  Notre  Dame  an  altar-piece, 
"  The  Burial  of  the  Virgin,"  and  "The  Preaching  of  S.  Stephen," 
in  S.  Hitienne  du  Mont,  are  by  this  master. 

Abel,  Joseph,  died  at  Vienna  (1768-1818).  Pupil  of  Fuger.  He 
was  employed  by  the  Czartorysky  family.  He  passed  six  years  in 
Rome,  and  gained  a  reputation  by  his  pictures  illustrative  of  ancient 
history  and  Greek  poetry.  At  Vienna  he  painted  large  historical 
subjects  and  decorated  the  theatre. 

Abildgaard,  Nikolai,  born  at  Copenhagen  (1 744-1809).  He  has 
been  called  the  best  painter  of  Denmark.  His  principal  pictures 
were  subjects  taken  from  the  ancient  poets.  When  the  palace  of 
Christianborg  was  burned  in  1 794,  some  of  his  best  works  were  de- 
stroyed. Fiissli  relates  that  this  so  affected  his  mind  that  he  painted 
but  little  afterwards. 

Abshoven,  or  Apshoven  (1648-1690).  Kugler  calls  him  Mi- 
chael ;  he  is  also  called  Theodore  van  Abshoven,  and  F.  van  Ap- 
shoven. He  was  a  favorite  scholar  and  successful  imitator  of  David 
Teniers  the  younger.  His  pictures,  like  those  of  his  master,  repre- 
sent village  festivals,  scenes  from  peasant  life,  etc.  They  are  fre- 
quently seen  in  Flanders,  where  they  are  placed  in  the  best  collec- 
tions. Dealers  in  pictures  have  been  in  the  habit  of  taking  hia 
name  from  his  works  and  substituting  that  of  Teniers. 


ACEVEDO  —  ADRIANO.  3 

Acevedo,  Cristobal,  born  at  Murcia.  Pupil  of  Bartolome  Cardu- 
clio  at  Madrid  in  1585.  He  painted  at  Murcia  for  the  chapel  of  the 
college  of  S.  Fulgencio  a  picture  of  that  saint  adoring  the  Virgin, 
and  some  other  works  for  convents,  which  prove  him  to  have  been  a 
good  artist. 

Achen  or  Ach,  Hans  Van,  born  at  Cologne 
1552;  died  at  Prague  1615.  A  pupilr  of  Jer- 
righ,  afterwards  an  imitator  of  Bartholomew 
Spranger.  He  passed  some  time  in  Italy,  and  after  his  return  was 
employed  by  the  courts  of  Cologne  and  Prague.  Specimens  of  his 
ecclesiastical  pictures  are  to  be  seen  in  the  ch.  of  Our  Lady,  and 
in  the  Jesuit  ch.  at  Munich,  where  he  painted  the  "Resurrection 
of  Christ,"  and  the  "  Finding  of  the  True  Cross  by  S.  Helena."  Three 
of  his  pictures  are  in  the  Vienna  Gall.:  "  Bathsheba  Bathing," 
after  the  style  of  Tintoretto  ;  ' '  Bacchus  with  Venus  ;  "  and  ' '  Jupiter 
and  Antiope." 

Achtschelling,  Lucas,  born  at  Brussels  (about  1570-1631).  Pupil 
of  Louis  de  Vadder.  Painted  landscapes,  which  are  highly  esteemed 
in  the  Low  Countries.  Three  large  works  of  his  are  in  the  collegiate 
ch.  of  S.  Gudula  at  Brussels. 

Acosta,  Cayetano,  born  in  Portugal  (1 710-1 780).  It  is  not  known 
under  what  master  he  studied,  if  at  all,  but  he  settled  in  Seville, 
calling  himself  a  sculptor.  He  made  a  high  altar  for  the  collegi- 
;ile  ch.  of  San  Salvador,  in  which  he  disregarded  all  architectural 
rules.  Here,  as  in  other  places,  a  more  beautiful  structure  was  re- 
moved to  make  way  for  his.  The  barefooted  friars  of  Mercy  em- 
ployed him  to  carve  lliree  figures  to  replace  those  of  Montanes ;  and 
Cean  Bermude/  asserts  thai  even  the  inestimable  works  of  Alonso 
Cano  were  put  aside  to  l>e  ivp laced  by  the  deformities  of  Acosta.  He 
left  a  son  and  nephew,  also  wood-carvers,  and  no  better  than  himself. 

Adda,  Conte  Francesco  d',  born  at  Milan,  died  1550.  An  ama- 
teur painter  of  small  pictures  on  panels  and  slate,  for  private  cabinets, 
lie  imitated  Leonardo  da,  Vinci.  An  altar-piece  in  the  ch.  of  S. 
Maria  delle  (Ira/ie  at  Milan,  is  attributed  to  him. 

Adolfi,  Giacomo,  horn  at,  IJergamo  (1682-1741).  In  the  ch. 
of  the,  monastery  Del  I'aradiso,  at,  Bergamo,  is  his  picture  of  the 
''Crowning  of  the  Virgin,"  which  is  considered  one  of  his  best;  that 
of  the  "  Adoration  of  the  Magi  "  is  in  the  ch.  of  S.  Alessandro  dclla. 
Grace. 

Adolfi,  Giro,  born  at  liergamo  (1  083-1 758).  Brother  of  Giacomo. 
Distinguished  himself  in  fresco  painting  in  the  edifices  of  Bergamo. 
The  --Four  Kvangelists"  in  the  ch.  of  S.  Alessandro  della  Croce, 
and  the  "Deposition  from  the  Cross"  in  S.  Maria  delle  Grazie,  are 
his  principal  works.  The  '«  Decollation  of  S.  John,"  by  this  master, 
in  the  church  at  Colognola  i<  also  admired. 

Adriano.     A   barefooted   Carmelite  of   Cordova.     Pupil  of  Paul 


4  ADRIANO  —  AETION. 

de  Cespedes.  His  convent  had  for  a  long  time  a  Magdelene  by 
Adriano,  which  was  considered  a  Titian.  He  was  in  the  habit  of 
destroying  his  works  because  they  seemed  to  him  so  inferior.  But 
his  brethren  have  preserved  a  few  by  interceding  in  the  names  of 
souls  in  purgatory,  a  fraud  easily  forgiven  by  the  lover  of  art.  He 
left  a  great  name ;  "  great  in  art,  and  still  greater  in  piety." 

Adrianssen,  Alexander,  born  at  Antwerp  (1625-1685).  An  ex- 
cellent painter  of  still-life.  He  painted  fish  remarkably  well.  Berlin 
Mus.,  Nos.  922,  952,  and  240. 

Aelst,  Everhard  Van.     See  Aalst. 

Aelst,  Wilhelm  Van.     See  Aalst. 

Aerts,  Richard,  born  at  Wyck  1482;  died  at  Antwerp  1577. 
Son  of  a  poor  fisherman.  When  a  boy  his  leg  was  so  badly  burned, 
as  to  necessitate  amputation.  During  his  confinement  he  manifested 
such  a  talent  for  sketching,  that  he  was  placed  with  an  artist  to 
study,  —  John  Moestaert,  the  elder,  of  Haerlem.  He  became  one  of 
the  ablest  artists  of  his  time.  His  first  works  after  leaving  school, 
were  two  scenes  from  the  life  of  Joseph,  painted  on  the  folding 
panels  of  an  altar-piece  in  the  great  ch.  at  Haerlem.  He  removed 
to  Antwerp,  and  was  admitted  to  the  Academy  there  in  1520. 

Aertszen,  Pieter,  called  Lange  Peer,  born  at  Amsterdam. 
Writers  differ  as  to  the  year  of  his  birth,  1507-17,  and  19,  are  all 
given.  Died  at  Amsterdam  in  1573.  He  was  a  pupil  of  Allard 
Claessen.  When  quite  young  he  painted  genre  pictures,  which  were 
spirited  and  well  colored.  He  then  applied  himself  to  Scriptural 
subjects.  He  painted  numerous  large  altar-pieces  in  Amsterdam, 
Delft,  Louvain,  etc.  These  were  destroyed  by  the  Iconoclasts  in 
1566.  One  of  his  most  celebrated  works  was  an  altar-piece  for  the 
ch.  of  Our  Lady  at  Amsterdam.  It  was  a  triptych,  the  centre 
compartment  represented  the  "  Death  of  the  Virgin  Mary,"  with  the 
Nativity  and  the  Adoration  of  the  Magi  upon  the  folding  panels. 
For  this  he  is  said  to  have  received  two  thousand  crowns.  Michael 
Coxie  of  Mechlin,  a  great  artist,  was  asked  to  paint  an  altar-piece 
for  a  new  church  in  Amsterdam,  but  when  he  saw  the  works  of 
Aertszen  he  refused,  saying  that  they  had  no  need  of  him  while  they 
had  such  an  artist  in  their  own  city.  He  sometimes  painted  market 
scenes,  one  of  which  is  in  the  Vienna  Gall.,  Antwerp  Mus.,  No.  159 ; 
Berlin  Mus.,  No.  726.  His  three  sons,  Peter,  Arnold,  and  Theodore, 
were  all  painters. 

Action.  A  Greek  painter,  sometimes  said  to  have  lived  in  the  time 
of  Alexander  ;  but  Lucian,  in  his  account  of  him,  distinctly  says  that 
he  did  not  live  in  ancient  times,  and  it  is  generally  believed  that  he 
was  of  the  time  of  Hadrian  and  the  Anton'mcs.  His  great  work 
described  by  Lucian,  represented  the  "  Nuptials  of  Alexander  and 
Roxane,"  with  Erotes  busy  about  them,  and  the  armor  of  the  king. 
This  picture  excited  so  much  admiration  when  exhibited  at  the 


AETION— AGASIAS.  5 

Olympic  games,  that  Proxenidas,  one  of  tlie  judges,  exclaimed, 
"  I  reserve  crowns  for  the  heads  of  the  Athletae,  but  I  give  my 
daughter  in  marriage  to  the  painter  Action,  as  a  recompense  for  his 
inimitable  picture."  This  painting  was  carried  to  Home,  where 
Lucian  saw  it.  Action  seems  to  have  excelled  in  the  art  of  mixing 
and  laying  on  his  colors. 

Afesa,  Pietro.  Flourished  about  1650.  Was  called  della  Basili- 
cata,  because  a  native  oi  the  province  of  that  name,  a  part  of  the 
kingdom  of  Naples.  His  works  are  in  many  churches  and  convents 
of  Naples.  One  much  esteemed  is  in  the  chapel  of  the  monastery  at 
Marsico  Nuovo,  and  represents  the  "  Assumption  of  the  Virgin 
Mary."  Dominici  mentions  Afesa  very  favorably. 

Agabiti,  Pietro  Paolo,  born  at  Sassoferrato.  Some  of  his  works 
are  in  that  place,  in  the  ch.  of  S.  Agostino,  and  are  dated  1514. 

Agaptos.  Spooner  says  that  "  According  to  Pausanias,  Agaptos, 
a  Grecian  architect,  invented  the  porticoes  around  the  square  attached 
to  the  Greek  stadii,  or  racecourses  of  the  gymnasiums,  which  gained 
him  so  much  reputation,  that  they  were  called  the  Porticoes  of  Agap- 
tos, and  were  adopted  in  every  stadium." 

Agar,  Jacques  d',  born  at  Paris  1040;  died  at  Copenhagen  1716. 
He  was  a  scholar  of  Simon  Vouet,  but  became  a  portrait  painter. 
He  went  to  England  and  painted  many  of  the  nobility  of  the  reign  of 
Queen  Anne.  He  was  afterwards  invitetl  to  the  Danish  court,  where 
he  was  much  patronized.  His  portrait,  painted  by  himself,  is  in  the 
Florentine  Gall,  of  Artists. 

Agasias.  Sculptor  of  Ephesus.  Three  Kphesians  of  this  name 
are  mentioned.  Agasias,  son  of  Dositheus,  whose  name  is  on  the 
Borghese  "Gladiator;"  Abasias,  sou  of  Menophihis.  a  sculptor  in  the 
island  of  Delos  when  it  was  under  Koinan  sway,  about  100  B.  C.;  and 
Agasias,  father  of  Heraclides,  on  a  statue  in  the  Louvre,  411.  This 
was  probably  the  name  of  an  Ephesian  family  of  artists,  or  had  been 
made  famous  by  one  great  master.  The  Borghese  "  Gladiator,"  Louvre, 
304,  and  the  "  Apollo  Belvedere"  were  discovered  among  the  ruins  of  a 
palace  of  the  Roman  Kniperors  at  Antium.  From  the  attitude  of  the 
so-e;illed  "  Gladiator,"  it  is  plain  that  it  represents  a  warrior  contend- 
ing with  a  horseman.  Miiller  thinks  it  mav  have  been  taken  from  a 
large  battle  group,  in  order  to  finish  it  with  greater  refinement  of  art. 
Thierseh  thinks  it  may  be  Achilles  contending  with  Penthesilea. 
This  Agasias  probably  lived  about  400  B.  c.  The  sculptor  of  the 
Apollo  Belvedere  is  not  known.  Until  recently  it  has  been  thought 
that  the  god  held  a  bow  ;  but  the  discovery  of  a  statuette,  which 
agrees  with  it  in  all  essential  points,  has  afforded  a  much  more 
satisfactory  explanation  of  the  action  represented.  It  is  that  he 
held  the  JEgiswith  the  ( Jorgoneia,  which  had  a  paralyzing  cfl'ect,  and 
was  lent  to  Apollo  by  Jupiter,  according  to  Homer  ("  Iliad,"  xv.  318, 
et  seq.).  Ludwig  Preller  believes  that  this  statue  represents  Apollo  in 


AGASIAS  —  AGATHAKCUS. 

the  battles  with  the  Gauls  before  Delphi.  Liibke  says  :  "  Not  till 
now  have  we  understood  the  Apollo  Belvedere Ardently  ex- 
cited, and  filled  with  divine  anger,  with  which  is  mingled  a  touch  of 
triumphant  scorn,  the  intellectual  head  is  turned  sidewards  "  (see 
figure),  "while  the  figure  with  elastic  step  is  hastening  forwards. 
The  eye  seems  to  shoot  forth  lightning ;  there  is  an  expression  of  con- 
tempt in  the  corners  of  the  mouth  ;  and  the  distended  nostrils  seem 
to  breathe  forth  divine  an^er." 


APOLLO   BELVEDERE. 

Vatican. 

Agatharcus,  an  Athenian  painter.  Vitruvius  says  he  was  the  in- 
ventor of  scene-painting,  and  painted  a  scene  for  a  tragedy  which 
^Eschylus  exhibited.  This  contradicts  Aristotle,  who  says  that 
Sophocles  introduced  this  art.  Dr.  Smith  thinks  that  probably 
scene-painting  was  introduced  towards  the  close  of  the  career  of 
^Eschylus,  but  was  not  in  general  use  until  the  time  of  Sophocles. 
There  was  another  Greek  painter  named  Agatharcus,  of  the  time  of 
Alcibiadcs,  who  had  no  great  merit,  and  prided  himself  chiefly  on 
the  rapidity  with  which  he  worked. 


AGELADAS  —  AGESANDER.  7 

Ageladas,  native  of  Argos.  Distinguished  as  a  sculptor,  and 
the  instructor  of  the  three  great  masters,  Phidias,  Myron,  and  Poly- 
cletus.  The  contradictory  statements  of  the  writers  who  mention  this 
name,  have  given  rise  to  much  discussion  as  to  when  he  lived,  all  of 
which  has  resulted  in  the  opinion  that  there  were  two  sculptors  of 
this  name.  The  instructor  of  Phidias,  the  Argive,  was  most  eminent, 
and  was  born  about  540  B.  C.  The  other  a  native  of  Sicyon,  who 
flourished  in  the  87th  Ol.  as  mentioned  by  Pliny,  or.  about  432  B.  c. 


Agesander,  native  of  die  island  of  Rhodes.  Pliny  is  the  only 
writer  who  speaks  of  him,  and  but  one  work  of  his  is  known, —  the 
4 '  Laocob'n  "  of  the  Vatican.  In  this  lie  was  asnMed  by  1'olydortis  and 
Athcnodorus.  Another  statue,  found  at  Antium,  shows  that  Atheno- 
dorus  was  the  son  of  Agesander.  It  is  thought  not  unlikely  that 
Polydorus  was  also  his  sou.  and  that  the  figure  of  Laocoon  was  exe- 
cuted by  the  father,  and  the  remaining  figures  by  the  sons.  This 
group  was  found  near  the  baths  of  Titus,  on  the  Ksquiline  Hill,  in 
150G.  It  is  considered  a  most  perfect  work  by  all  competent  judges, 
and  is  very  wonderful  from  the  fact,  that,  while  it  portrays  the  most 
intense  suffering  in  every  feature,  limb,  and  muscle,  it  still  has  the 
sublime  n-pose  of  true  (.Jreeian  art.  Luucob'u  was  a  priest  of  Apollo, 


AGESANDEK  —  AGNOLO. 

and  liad  committed  some  crime  against  that  god,  who  sent  two  im- 
mense serpents  from  the  island  Tenedos  to  kill  him  just  as  he  was 
offering  a  sacrifice,  assisted  by  his  two  sons.  Laocobn  had  opposed 
the  reception  into  Troy  of  the  horse  left  by  the  Greeks ;  and  his 
death  was  believed  by  the  Trojans  to  be  a  divine  punishment  for 
this ;  therefore  a  breach  was  made  in  the  walls  and  the  horse  admit- 
ted ;  thus  the  death  of  the  priest  decided  the  ruin  of  Troy. 

Agi,  Andrea  Cardelle.  The  Berlin  Museum  has  a  marriage  of 
S.  Catherine  which  is  attributed  to  this  painter.  The  expression  is 
good.  A  small  "  Madonna  "  by  him  which  was  in  the  Beckford  Coll., 
was  remarkable  for  its  fused  execution. 

Aglaophon.  Greek  artist,  native  of  the  island  of  Thasos.  The 
father  and  teacher  of  Polygnotus.  He  had  another  son,  Aristophon. 
He  probably  lived  about  Ol.  70  (B.  c.  500).  Quintilian  praised 
his  coloring.  Pliny  speaks  of  a  younger  Aglaophon,  contempora- 
neous with  Alcibiades.  He  was  probably  the  son  of  Aristophon,  as 
the  Greeks  bore  the  name  of  the  grandfather  rather  than  the  father. 
In  one  picture  this  artist  represented  the  presiding  geniuses  of  the 
Olympic  and  Pythian  games,  Olympias  and  Pythia,  as  crowning 
Alcibiades,  and  in  another,  the  genius  of  the  Nemean  games  held 
Alcibiades  in  her  lap.  Alcibiades  could  not  have  won  any  victories 
which  merited  these  honors  before  Ol.  91  (B.  c.  416).  It  is  said 
that  this  Aglaophon  is  the  first  artist  who  represented  Victory  with 
wings. 

Aglio,  Andrea-Salvatore  di  Antonio  di  Arzo,  born  at  Lugano 
(1736-1786).  Said  to  have  discovered  the  method  of  fixing  colors 
on  marble. 

Agnolo,  Sienese  sculptor.     See  Agostino  and  Agnolo. 

Agiiolo,  Baccio  d'  (1460-1543).  In  his  youth  he  was  an  ex- 
cellent artist  in  inlaid  works.  He  executed  some  fine  things  in  wood 
for  the  churches  of  S.  Maria  Novella,  and  the  Nunziata  at  Flor- 
ence. These  last  were  removed  when  the  Nunziata  was  re-adorned. 
After  studying  zealously  at  Rome,  he  returned  to  Florence,  where  he 
became  a  great  architect.  He  erected  several  arches  of  triumph 
when  Pope  Leo  visited  that  city.  His  work-shop,  which  he  seldom 
left,  became  the  rendezvous  of  artists  and  the  young  men  of  Florence, 
as  well  as  strangers  there,  and  in  it  many  discussions  were  held.  At 
length  after  he  had  proved  his  ability,  the  most  magnificent  buildings 
were  committed  to  his  care.  He  assisted  with  other  architects  to 
construct  the  Great  Hall  of  the  Palace,  and  carved  with  his  own  hand 
the  frame-work  for  the  large  picture  sketched  by  Fra  Bartolonieo. 
He  also  took  part  in  the  erection  of  the  steps  leading  to  the  Hall 
now  called  that  of  the  Dugento,  and  also  the  marble  doors  to  the 
same.  On  the  Piazza  di  Santa  Trinita  he  constructed  a  palace  for 
Gio.  Bartolini.  This  was  ridiculed  in  sonnets,  and  every  way,  be- 
cause of  its  unusual  style,  and  festoons  of  foliage  hung  on  it  as  on 


AGNOLO  —  AGORACRITUS.  9 

a  church  during  a  festival.  This  drove  Baccio  almost  insane,  but  he 
knew  the  work  was  good,  and  he  had  his  revenge  by  carving  this 
inscription  above  the  door,  Carpere  promptius  quam  imitari.  He  then 
built  many  other  beautiful  palaces  ;  and  for  Giovan-Maria  Benintendi 
made  a  frame-work  for  certain  pictures  which  was  esteemed  ex- 
traordinarily beautiful.  He  made  the  model  for  the  ch.  of  S.  Giu- 
seppe at  S.  Onofrio,  and  erected  its  portal.  This  was  his  last 
work.  He  directed  the  work  of  the  Campanile  of  Santo  Spirito  of 
Florence,  but  he  did  not  finish  it.  He  also  built  the  bell-tower  of 
S.  Miniato-in-Monte.  He  was  at  length  appointed  architect  of 
S.  Maria  del  Fiore,  and  made  a  model  for  the  gallery  encircling 
the  cupola,  but  Michael  Angelo  so  criticised  it,  that  a  discussion  was 
held  before  competent  judges,  and  in  the  end  neither  plan  was 
adopted.  Baccio  then  attended  to  the  pavement  of  S.  Maria  del 
Fiore  and  to  the  care  of  many  other  buildings  that  were  trusted  to 
him.  He  was  eighty-two  years  old  when  he  died.  He  was  buried 
in  S.  Lorenzo.  His  three  sons,  Giuliano,  Filippo,  and  Domenico 
were  all  artists. 

Agnolo,  Giuliano,  son  of  the  preceding,  gave  much  of  his  atten- 
tion to  architecture,  and  by  the  favor  of  the  Duke  Cosimo  he  suc- 
ceeded to  his  father's  office  at  S.  Maria  del  Fiore,  and  finished  what 
he  had  there  commenced,  as  well  as  in  many  other  buildings  which 
Baccio  had  left  unfinished.  He  made  at  Pescia  a  beautiful  tomb, 
which  was  surrounded  by  a  chapel,  for  Messer  Baldassare,  and  also 
restored  his  house  and  furnished  it.  He  built  a  house  at  Montughi, 
a  short  distance  from  Florence,  for  Messer  Francisco  Campana,  and 
at  Colle  another  house  for  the  same  Campana,  and  a  most  magnifi- 
cent palace  al  Tedesco  for  Me-ser  Ugolino  Grivoni,  Signer  of  Alto- 
paseio.  But  space  would  not  allow  the  enumeration  of  all  his  works. 
He  was  associated  al>o  with  liaccio  I>aii<liiielli  in  various  affairs,  one 
of  which  was  the  reconstruction  of  the  great  hall  in  the  ducal  palace, 
which  was  a  failure,  according  to  Vasari  ;  another  was  the  choir  in 
S.  Maria  del  Fiore,  etc.,  etc.  He  also  made  couches,  picture-frames, 
and  various  wood  carvings.  Died  1555. 

Agnolo,  Domenico.  Hi'  excelled  Giuliano  in  wood-carving,  and 
was  a  reputable  architect,  lie  completed  the  terrace  for  the  home 
of  the  Nasi  family,  which  his  father  had  commenced,  and  executed 
several  u;ood  architectural  works.  He  promised  to  excel  both  his 
father  and  brother,  hut  died  before  he  reached  his  prime. 

Agoracritus,  horn  in  the  island  of  Faros.  Scholar  of  Phidias. 
Brass-caster  and  sculptor.  He  was  so  much  the  favorite  of  Phidias, 
that  the  master  is  even  said  to  have  put  the  name,  of  this  disciple 
upon  some  of  his  own  works.  Four  of  the  works  of  Agoracritus  are 
incut  ioued  by  diilerent  authors  :  namely  a  statue  of  Zeus  ;  a  statue  of 
the  Ionian  Athene,  in  the  temple  dedicated  to  her  at  Athens;  a  statue 
in  the  temple  of  the  great  goddess  at  Athens,  probably  a  Cybele ; 


10  AGOKACRITUS  —  AGOSTINO. 

and  the  Rhamnusian  Nemesis.  It  is  said  of  this  last  that  it  was 
originally  a  Venus,  for  Agoracritus  and  Alcamenes  contended  with 
each  other  in  making  a  statue  of  that  goddess,  and  when  the  Athe- 
nians gave  the  preference  to  the  statue  of  Alcamenes,  Agoracritus 
changed  his  to  a  Nemesis,  and  sold  it  to  the  people  of  Rhamnus, 
making  the  condition  that  it  should  not  be  set  up  in  Athens.  Al- 
though this  story  is  often  repeated,  it  is  not  known  to  be  true,  and 
Pausanias  says  that  this  same  Nemesis  was  the  work  of  Phidias ;  but 
be  that  as  it  may,  there  is  no  doubt  that  Agoracritus  was  a  great 
sculptor  from  440  to  428  B.  c.  and  the  other  works  attributed  to  him 
were  undoubtedly  his  own. 

Agostino  and  Agnolo,  Sienese  sculptors,  died  1348  and  1350. 
In  1284  Giovanni  Pisano  visited  Siena  to  prepare  designs  for  the 
Cathedral.  Agostino,  said  to  have  been  at  this  time  about  fifteen 
years  old,  became  his  pupil.  So  great  was  his  talent,  and  his  appli- 
cation to -study,  that  he  soon  surpassed  his  co-disciples.  Meantime 
his  young  brother,  Agnolo,  had  made  some  secret  attempts  at  sculp- 
ture, and  from  constant  intercourse  with  Agostino  and  other  artists 
had  acquired  a  love  for  their  art.  At  length  Agostino  prevailed 
upon  Giovanni  to  employ  Agnolo,  together  with  himself,  in  executing 
a  marble  altar  for  Arezzo.  Agnolo  so  acquitted  himself,  that  Gio- 
vanni continued  to  employ  the  two  at  Pistoja,  Pisa,  etc.  They  also 
studied  architecture,  and  in  1308  were  employed  by  the  Nine,  whc 
ruled  Siena,  to  make  designs  for  a  palace.  When  Giovanni  died  they 
were  appointed  architects  to  the  State,  and  in  1317  directed  the 
building  of  the  north  front  of  the  Cathedral.  After  designing  the 
Porta  Romana  and  other  gates,  a  church,  convent,  etc.,  they  were 
invited  to  Orvieto  by  the  Tolomei  family,  and  there  executed  sculp- 
tures for  the  ch.  of  S.  Maria.  In  1326  Giotto  visited  Orvieto, 
and  pronouncing  the  Sienese  brothers  the  best  sculptors  who  had 
Avovked  there,  recommended  them  to  Piero  Saccone  da  Pietramala, 
as  the  best  persons  he  could  employ  to  construct  the  tomb  of  Guido, 
bishop  and  lord  of  Arezzo.  This  work  they  did  after  the  plan  of 
Giotto,  which  occupied  them  three  years.  The  tomb  was  very  beau- 
tiful, and  was  adorned  with  sixteen  relievi,  representing  the  principal 
events  in  the  life  of  Guido.  They  then  executed  an  altar  for  the 
ch.  of  S.  Francisco  at  Bologna,  and  when  the  Pope  promised  to 
remove  to  that  city,  these  sculptors  were  employed  to  make1  designs 
for  the  castle  fortress  to  be  built  for  his  reception.  "While  they 
were  at  Bologna  the  Po  burst  its  banks  and  caused  great  destruction 
of  life  and  property.  These  brothers  found  means  to  reconduct  it  to 
its  channel,  and  for  this  were  honorably  rewarded  by  the  lords  of 
Mantua,  and  the  house  of  Este.  In  1338  they  returned  to  Siena, 
where  a  new  church  was  erected  after  their  designs,  and  they  were 
employed  to  construct  a  fountain  on  the  principal  piazza  of  the  city. 
This  was  successfully  done,  and  the  water  let  on  June  1,  1343,  greatly 


AGOSTINO  —  AGUIliRE.  11 

to  the  joy  of  the  Sienese,  and  the  glory  of  the  artists.  After  several 
other  works  in  Siena,  Agnolo  went  to  Assisi  to  build  a  tomb,  while 
Agostino  remained  at  Siena  in  the  service  of  the  state,  where  he 
soon  after  died.  It  is  not  known  where  Agnolo  died. 

Agresti,  Livio,  called  also  Livio  da  Forli,  from  the  place  of  his 
birth,  the  date  of  which  is  not  known,  died  about  1585.  He  was 
a  fellow-student  with  Luca  da  Ravenna  under  Pierino  del  Vaga  at 
Rome.  Vasari  calls  him  the  rival  of  Luca.  There  are  works  of 
Agrcsti  in  many  churches  and  public  buildings  at  Rome.  In  S. 
Caterina  de  Funari  In-  painted  an  "Annunciation"  and  "  SS.  Peter 
and  Paul."  In  a  chapel  of  S.  Spirito  in  Sassia,  the  "  Assumption  of 
tin-  Virgin."  Pope  Gregory  XIII.  employed  him  to  assist  in  the  great 
\vorks  at  the  Vatican,  where  he  painted  a  fresco  in  the  grand  stair- 
case, representing  the  submission  of  Philip  of  Arragon  to  Pope 
Eugenia  III.  But  his  best  works  arc  in  Forli.  In  a  chapel  of  the 
Cathedral  lie  painted  the  "  Last  Supper,"  and  in  the  vault  some  fine 
figures  of  the  prophets.  lie  al.-o  painted  seven  pictures  on  cloth  of 
silver,  to  be  used  as  hangings  for  the  Card,  of  Augusta,  who  sent 
them  as  a  present  to  the  King  of  Spain,  in  which  country  they  were 
thought  very  beautiful.  He  al>o  painted  a  picture  on  cloth  of  silver 
for  the  eli.  of  the  Theatines  in  Forli. 

Agricola,  Christopher  Ludwig,  born  at  Regensburg  (1667-1719). 
Portrait  and  landscape  painter,  lie  studied  principally  from  nature 
when  travelling,  and  his  pictures  resemlile  those,  of  Poussin.  He 
lived  some  time  at  Naples,  ami  some  of  the  pictures  he  painted  there 
were  carried  to  England.  In  the  Droden  (Jail,  there  are  two  works 
of  his,  Xos.  17S1  and  1  7s;>.  The  Vienna  (Jail,  has  one  of  his  fmot 
landscapes,  representing  the  ruins  of  a  monument  and  the  pillars  of 
a  leinple,  si-en  between  the  trees. 

Agua,  Bernardino  del,  a  Venetian  painter.  lie  executed  frescoes 
in  the  cloister  of  the  court  of  the  Evangelists  at  the  Ksciirial.  These 
he  did  under  the  direction  of  Tibaldi.  and  after  the  sketches  of  that 
master,  who  attributed  the  defects  in  them  to  the  haste  with  which 
Philip  II.  would  have  them  done,  rather  than  to  any  fault  of  Agua. 

Agiiero,  Benito  Manuel  de,  born  at  Madrid  (1026-1670),  pupil 
of  Marline/.  When  Philip  I  V.  visited  the  studio  of  that  master  he 
was  attracted  by  Aguero's  wit  as  much  as  by  his  artistic  powers. 
He  painted  a  "  S.  Ildefonso"  for  the  nuns  of  S.  Isabel,  which  was 
like  Titian  in  color.  His  usual  subjects  and  those  in  which  he  ex- 
celled were  battle-scenes  and  views  of  cities. 

Aguiar,  Tomas  de,  a  gentleman  of  Madrid,  —  flourished  about 
H!(i<).  He  acquired  considerable  reputation  for  small  pictures  in  oil. 
lie  painted  the  portrait  of  Antonio  de  Solis,  who  in  return  wrote  an 
extravagant  sonnet  in  praise  of  Aguiar. 

Aguirre,  Francisco  de,  a  pupil  of  Caxes.  He  was  a  portrait- 
painter  and  restorer  of  pictures,  to  which  last  profession  he  espe- 


1 2  AGTJIRRE  —  AKERS. 

cially  devoted  himself.  He  commenced  at  Toledo  in  1646,  and  was 
employed  to  restore  the  pictures  in  the  Cathedral.  Like  many 
others  who  have  done  like  work,  he  did  not  adhere  to  the  original, 
but  introduced  his  own  ideas,  thus  destroying  the  true  value  of  the 
paintings. 

Ainemolo,  Vincenzo,  born  at  Palermo,  died  1540.  The  most 
important  Sicilian  artist  of  the  sixteenth  century.  It  is  believed 
that  he  went  to  Naples,  where  he  studied  the  style  of  Perugino.  He 
went  at  length  to  Home,  and  became  famous  as  an  imitator  of  Raphael. 
His  works  are  mostly  in  Palermo,  and  the  best  one  represents  the 
"Virgin  and  Child"  between  four  saints.  It  is  in  the  ch.  of  S. 
Pietro  Martire.  At  S.  Domenico  there  is  a  "  Descent  from  the 
Cross,"  which  is,  in  some  of  its  figures,  almost  a  copy  of  Raphael's 
"  Spasimo  di  Sicilia."  In  several  other  churches  of  Palermo,  and  in 
its  gallery,  there  are  works  of  this  artist. 

Aikman,  William,  born  in  Aberdeenshire  (1682-1731).  He 
studied  law,  but  in  1707  left  Scotland,  and  travelled  extensively  on 
the  Continent,  and  in  the  East.  He  next  spent  some  years  in  Rome, 
and  studied  painting  under  Sir  John  Medina,  and  then  established 
himself  as  a  portrait-painter  in  Edinburgh,  He  had  no  success,  and 
in  1723  removed  to  London,  where  he  became  the  friend  of  Sir  God- 
frey Kneller,  whom  he  imitated.  His  career  was  short.  There  is 
a  head  of  Gay  by  Aikman,  which  is  good.  He  had  good  literary 
parts,  and  was  the  friend  of  Allan  Ramsay,  and  of  Thomson,  who 
wrote  his  elegy.  He  was  taken  to  Scotland  for  burial. 

Aken,  Joseph  van,  died  in  London  1 749.  A  Flemish  artist,  he 
passed  most  of  his  life  in  England,  and  painted  on  velvet  and  satin 
with  great  success.  He  was  often  employed  by  other  artists  to  paint 
figures  in  landscapes,  in  which  he  was  very  skilful. 

Akerboom.  Dutch  painter  of  interiors,  who  flourished  about  the 
middle  of  the  seventeenth  century.  His  pictures  are  very  highly 
finished. 

Akers,  Benjamin,  called  also  Paul,  born  at  Saccarappa,  Maine, 
1825,  died  at  Philadelphia,  1861.  His  father  owned  a  saw-mill,  in 
which  as  a  boy  he  spent  much  time.  His  most  striking  characteris- 
tics were  intense  attachments  to  persons  and  places,  and  extreme 
love  of  adventure  and  travel.  When  at  work  in  the  saw-mill,  by 
means  of  a  turning  lathe,  he  made  beautiful  toys,  and  specimens  of 
ornamental  wood-work,  from  original  designs.  He  invented  a  shin- 
gle machine,  which  is  now  in  use.  He  went  to  Portland  and  tried  to 
be  a  printer.  He  also  attempted  to  paint,  but  it  was  not  until  his 
attention  was  attracted  to  a  plaster  cast  that  his  true  vocation  was 
revealed  to  him.  He  went  in  1849  to  Boston  and  was  instructed  in 
plaster-casting  by  Joseph  Carew.  He  returned  home,  and  after  a 
few  attempts  at  moulding,  in  a  good  degree  successful,  he  opened  a 
studio  in  Portland  with  Tilton,  the  landscape-painter.  During  the 


THE    VOW.    BY  TITIAN. 
(Belvedere,  Vienna.)    See  p.  571. 


AKERS  —  ALBANI.  13 

two  following  years  he  made  several  portrait  busts,  so  excellent  as  to 
establish  his  reputation.  In  1852  he  went  to  Florence,  where  he 
passed  a  year  in  study  and  labor.  Returning  home  he  made  his 
"  Benjamin  in  Egypt,"  which  was  burned  in  the  Portland  Ex- 
change. He  passed  a  winter  in  Washington,  where  he  made  models 
for  portrait  busts  of  many  eminent  men.  Some  medallions  also, 
which  were  much  admired,  especially  that  of  Samuel  Houston.  He 
modelled  a  head  of  "Peace,"  and  visited  Providence,  R.  I.,  to 
execute  commissions  in  portrait  busts.  In  1854  he  went  to  Rome, 
and  finished  in  marble  the  heads  modelled  in  America.  He  copied 
works  in  the  Vatican  to  fill  American  commissions,  and  also  executed 
several  original  designs  ;  "  Una  and  the  Lion,"  "Diana  and  En- 
dymion,"  "Girl  pressing  Grapes,"  "Isaiah,"  "Schiller's  Diver," 
and  the  u  Reindeer,"  being  those  most  admired.  He  then  went  to 
Venice,  Switzerland,  Paris,  and  England,  and  again  to  Rome,  where 
he  made  a  colossal  head  of  Milton,  the  "Lost  Pearl  Diver,"  and 
"  Saint  Elizabeth  of  Hungary,"  which  last  was  often  repeated  for 
his  American  admirers  and  patrons.  He  was  never  strong,  and  his 
health  now  failed.  He  came  to  .America,  but  was  obliged  soon  to 
seek  a  milder  climate.  He  returned  to  Rome,  and  the  last  work  he 
did  there  was  a  medallion  likeness  of  his  wife.  In  1860  he  came 
again  to  America,  and  went  to  pass  the  winter  in  Philadelphia.  He 
devoted  himself  to  his  loved  art  as  much  as  his  failing  strength 
would  allow,  and  left  the  head  of  a  cherub  still  unfinished  when  lu: 
died.  His  religious  and  sensitive  character  acquired  for  him  from 
his  young  companions  the  nickname  of  S.  Paul.  By  this  name 
he  "  became  endeared  to  his  friends  and  known  to  fame."  His  love 
of  Nature  and  of  children  was  intense.  "  It  makes  no  difference," 
he  would  say,  "  what  happens  to  me,  so  long  as  I  can  hear  sparrows 
sing  and  see  children  roll  on  the  grass."  His  literary  attainments 
were  fine,  as  is  proved  by  his  paper  on  "  Art-expression  "  and 
"  The  Artist  Prisoner."  Many  of  his  writings  have  never  been 
given  to  the  public. 

Alba,  Macrino  d'  or  Giaiigiacomo  Fava.  Lived  mostly  at 
Turin,  and  flourished  about  1500.  In  the  Stiidel  Institute  at  Frank- 
fort, there  is  a  picture  of  the  "  Madonna/'  with  the  histories  of 
Joachim  and  Anna  on  folding  side  panels,  by  this  master.  It  is 
"  dignified  and  full  of  character." 

Albani,  Francisco,  born  at  Bologna  (1578-1660).  Son  of  a  silk 
merchant.  His  father  desired  to  bring  him  up  to  his  own  profession, 
but  his  decided  art-genius  so  asserted  itself  that  he  was  placed  in  the 
academy  of  Denys  Calvert,  where  Guido  Reni  was  a  pupil.  Albani 
and  Guido  became  friends,  and  when  the  latter  went  to  Rome  and 
entered  the  school  of  the  Caracci,  Albani  quickly  followed.  Here 
his  talent  soon  brought  him  to  notice,  and  there  are  many  of  his 
works  in  Rome.  When  Annibale  Caracci  was  employed  on  the 


14 


ALBANI. 


frescoes  of  S.  Giacomo  degli  Spagnuoli,  he  fell  sick,  and  by  his 
recommendation  Albani  was  selected  to  finish  them.  He  also  painted 
the  mythological  frescoes  in  the  Verospi  (now  Torlonia),  palace. 
In  the  Borghese  Gall.,  and  at  Turin,  are  his  famous  pictures  of  the 
"Four  Elements."  He  also  painted  for  the  Duke  of  Mantua  the 
stories  of  "  Diana  and  Actseon,"  and  "  Venus  and  Cupid."  Returning 
to  Rome,  he  painted  the  large  pictures  in  the  Tribune  of  the  Ma- 
donna della  Pace  and  the  "Martyrdom  of  S.  Sebastian"  in  the 
church  of  the  same  name.  His  best  religious  works  at  Bologna  are  the 
"  Baptism  of  Christ  "  in  S.  Giorgio,  the  "  Annunciation  "  in  S.  Barto- 
lomeo,  and  the  "  Resurrection  "in  S.  Maria  de  Galeria.  But  his  best 
pictures  are  those  of  mythological  and  fanciful  subjects,  in  which  both 
figures  and  landscapes  were  well  done.  Beauty  was  his  characteristic 
rather  than  power.  Lanzi  calls  him  the  Anacreon  of  painting,  and 
says,  "  Like  that  poet  with  his  short  odes,  so  Albani  from  his  small 
pictures  acquired  great  reputation,  and  as  the  one  sings  of  Venus 
and  the  Loves,  and  maids  and  boys,  so  does  the  artist  hold  up  to  the 
eye  the  same  delicate  and  graceful  subjects."  He  had  every  advan- 
tage in  his  own  home  for  the  perfection  of  such  pictures.  His  villa 
was  well  situated,  and  afforded  him  lovely  views  of  nature.  His  wife 
was  beautiful,  and  bore  him  twelve  children,  so  lovely  that  not  only 
he,  but  the  sculptors  Algardi  and  Fiammingo  are  said  to  have  used 
them  as  models.  The  works  of  Albani  are  in  almost  every  large  gal- 


CUPIDS.      BY   ALBANI. 


lery,  for  he  either  painted  duplicates,  or  caused  his  s-liolars  to  paint 
those  to  which  he  put  the  finishing  touches.    The  "  Toilet  of  Venus," 


ALBANI.  15 

at  the  Louvre,  and  the  "  Landing  of  Venus  at  Cytherea,"  in  the 
Chigi  Palace  at  Home,  are  among  his  finest  works.  One  of  his  oft- 
repeated  and  pleasing  subjects  is  the  "  Infant  Christ  "  asleep  on 
the  cross. 

ENGRAVINGS  AFTER  THE  WORKS  OF  ALBANI. 

Engraver,  AGUILA,  Francisco  Faraone.     The  Last  Supper. 

Engraver,  AUDRAN,  John.  Infant  Saviour  regarding  the  Cross 
presented  by  Angels. 

Engraver,  AVELINE,  Peter.  The  Wrath  of  Neptune.  Inscribed, 
Quos  ego. 

Engraver,  AVRIL,  Jean  Jacques.  Diana  and  Actaeon  ;  The  Bath- 
ers surprised. 

Engraver,  BARTOLI,  Pietro  Santi.     The  Birth  of  the  Virgin. 

Engraver,  BAUDKT,  Stephen.  The  Virgin  teaching  the  Infant 
Jesus  to  read  ;  The  Woman  of  Samaria ;  Four  plates  of  the  Loves 
of  Venus  and  Adonis ;  Four  circular  prints  of  the  Four  Elements. 

Enyracer,  BONAVKRA,  Domenico  Maria.  The  Baptism  of  our 
Saviour  by  S.  John. 

Engraver,  CANALE,  Giuseppe.  Adam  and  Eve  driven  from  Par- 
adise. 

Engraver,  CHATEAU  or  CHASTEAU,  William.  The  Baptism  of 
Christ  by  S.  John. 

Engraver,  CREPY  or  CHKSI-Y,  John  and  Louis.     The  Nativity. 

Engraver,  DAULLE,  John.     A  Charily  with  Three  Children. 

Engraver,  DUKI.OS.  Claude.     The  . \uuuneiation. 

Engraver,  FARIAT  or  FARJAT,  Benoit.  The  Holy  Family  with  S. 
John. 

Engraver,  FUEY,  James.  A  Charity  with  Three  Children  ;  The 
Rape  of  Kuropa. 

Engraver,  FRE//A,  Giovanni  Girolamo.  The  Gallery  of  the 
Vorospi  Palace.  Seventeen  plates. 

Engraver,  HAINZELMANN,  Elias.  Christ  appearing  to  Magda- 
lene. 

Ent/rarcr,  I.AXDiiY,  Peter.     Christ  and  the  Woman  of  Samaria. 

Einjroi'ir.  LASNK,  Miehael.  Tin-  Virgin  in  the  Clouds,  with  a 
crescent;  oval. 

KiHjmvcr,  MOLA,  Pietro  Francisco.  Holy  Family  with  Angels 
presenting  Flowers  to  the  Infant  Jesus. 

Kngr<ir,-r.    MOLA,    John    Baptist.      Cupid    in    a    Car,  drawn  by 

Loves. 

Engraver,  PICART,  Stephen.  The  Ecce  Homo,  with  Three 
Angels. 

Engraver,  VALET  or  VALLET,  William.  The  Holy  Family, 
called  La  Laveuse. 

Engraver,  VOUILLEMONT,  Sebastian.     Marriage  of  S.  Catherine. 


1 6  ALBANI  —  ALBERTINELLI. 

Albani  or  Albano,  Gio.  Baptiste,  died  1668.  Brother  of  Fran- 
cisco, whom  he  imitated  so  closely  that  his  pictures  were  sometimes 
mistaken  for  his. 

Alberelli,  Giacomo,  born  at  Venice  (1600-1650).  Pupil  of  Ja- 
copo  Palma,  the  younger,  with  whom  he  painted  thirty-four  years. 
Several  pictures  by  Alberelli  are  in  his  native  city,  the  most  esteemed 
being  the  "  Baptism  of  Christ  "  in  the  ch.  of  the  Ognissanti. 

Alberici,  Enrico,  born  at  Vilminore  in  Bergamo  (1714-1775). 
Pupil  of  Ferdinando  Cairo  of  Brescia.  He  had  a  good  reputation, 
and  painted  his  principal  pictures  for  the  ch.  Dei  Miracoli,  at 
Brescia. 

Albertinelli,  Mariotto,  born  at  Florence  (1474-1515).  His 
father  placed  him  with  a  goldsmith,  but  he  determined  to  be  a 
painter,  and  entered  the  school  of  Cosimo  Rosselli,  where  he  was  the 
intimate  friend  of  Baccio  della  Porta,  called  Fra  Bartolonimeo. 
Mariotto  imitated  Baccio  so  closely  as  to  render  it  difficult  to  distin- 
guish between  the  two,  especially  in  some  works  which  they  did  in 
company,  and  he  was  called  a  second  Bartolonimeo.  After  they  left 
Rosselli  they  dwelt  together.  Mariotto  became  the  protege  of  the 
wife  of  Pietro  dei  Medici,  and  painted  for  her  several  pictures, 
besides  her  own  portrait.  When  Pietro  was  banished,  Mariotto 
returned  to  the  house  of  Baccio.  When  the  latter  became  a  monk, 
Mariotto  was  almost  insane  with  grief,  and  could  interest  himself  in 
nothing.  Baccio  had  left  unfinished  the  "  Last  Judgment  "  for  the 
Cemetery  of  S.  Maria  Nuova,  and  as  he  had  received  part  pay- 
ment for  it  he  desired  Mariotto  to  complete  it.  He  did  this  with 
great  care.  He  could  not  equal  Baccio,  because  not  equally  gifted 
by  nature ;  but  the  pictures  of  both  had  the  same  life  in  action, 
elegance  in  proportion,  and  sharpness  and  careful  minuteness  in 
finish.  His  earlier  works  were  lost.  One  of  the  oldest  known  is 
No.  25  Louvre,  "  Christ  appearing  to  the  Magdalene."  In  1503  he 
executed  "  The  Salutation,"  now  in  the  Uffizi,  and  generally  consid- 
ered his  master-piece.  He  next  painted  the  fine  "  Nativity,"  No.  365 
Pitti  Gall.  Soon  after  this  Fra  Bartolonimeo  resumed  his  brush 
and  became  the  head  of  the  work-shop  of  S.  Marco.  Mariotto 
painted  "The  Crucifixion,"  No.  24  Louvre,  and  received  many  pupils. 
He  spent  much  time  attempting  to  improve  oil  mediums,  being  espe- 
cially dissatisfied  with  the  white,  but  his  experiments  amounted  to 
little.  He  could  not  endure  criticism,  and  became  so  disgusted  with 
it  that  he  forsook  painting  and  kept  a  tavern.  He  declared  himself 
then  "where  there  was  no  embarrassment  with  perspective,  fore- 
shortenings,  or  muscles,  and  no  criticism  or  censure  to  dread  ;  "  and 
that  his  former  calling  "was  to  imitate  flesh  and  blood,  whereas 
that  he  had  adopted  made  both  flesh  and  blood."  But  he  soon  hated 
this  more  than  painting,  which  he  resumed.  Late  in  life  he  went  to 
Rome,  where  he  became  ill.  He  was  taken  to  Florence  on  a  litter, 


ALBERTINKLLI  —  ALBERTI.  17 

and  died.  The  following  are  some  of  his  works  not  yet  mentioned  : 
A  "  Trinity,"  No.  73,  Florence  Acad.  of  Arts  ;  an  "  Annunciation  "  at 
Munich,  Pinacothek,  Saal.  No.  545  ;  "Marriage  of  S.  Catherine/' 
on  Avood,  Hermitage,  St.  Petersburg,  No.  21;  an  "  Assumption  " 
in  Berlin  Mus.,  painted  by  Mariotto  and  Baccio ;  National  Gall., 
London,  No.  G45,  and  many  others  in  the  Prince  Gortschakoff  Gall., 
St.  Petersburg ;  the  Ex-Pourtales  Gall.,  Paris,  etc. 

Albert!,  Leon  Battista,  born  at  Venice  (1404-1472).  The  name 
of  Alberti  is  distinguished  in  all  branches  of  Art.  Leon  Avas  an 
architect  and  of  a  noble  family  of  Florence;  at  the  time  of  his 
birth  his  parents  were  in  Venire,  in  order  to  escape  persecution  at 
home.  He  Avas  a  man  of  superior  literary  talents  and  cultivation,  a 
fine  mathematician  and  geometrician.  He  Avrote  ten  books  upon 
architecture  in  Latin,  three  books  on  painting,  and  other  smaller 
Avorks.  Under  Nicholas  V.  and  in  connection  Avith  Bernardo  Ros- 
sellino,  he  superintended  numerous  public  Avorks  at  Rome.  At 
Rimini,  for  Sigismondo  Malatesta,  he  made  a  model  for  the  eh.  of 
S.  Francisco.  lie  Avas  next  employed  by  Gio.  di  Paolo  Rucellai, 
Avho  had  determined  to  adorn  the,  principal  facade  of  S.  Maria  Novel- 
la at  his  own  cost.  This  work  was  completed  in  1177,  and  Avas  much 
admired.  For  the  Rucellai  family  he  also  designed  palaces,  and  a 
chapel  in  the  eh.  of  S.  Pancra/io.  For  Ludovico  Gonxaira.  Mar- 
quis of  Mantua,  he  modelled  the  chapel  Avhich  he  built  in  the  Nun- 
xiata  at  Florence.  He  went  afterwards  to  Mantua  in  the  service 
of  the  same  nobleman,  and  made  designs  for  the  ch.  of  S.  An- 
drea, and  other  works.  Leon  painted  a  few  pictures,  which  have 
been  destroyed  ;  they  had  no  -real  merit,  but  served  to  show  that  he 
could  express  himself  with  brush  or  pencil.  All  writers  who  men- 
tion him  agree  that  as  a  refined,  clcgani,  and  scholarly  gentleman  he 
had  few  equals. 

Alberti,  Michele,  born  at  Borgo  S.  Sepolcro,  1527.  Pupil  of 
Daniello  Ricciarelli,  called  da  Voltcrra.  His  principal  Avork  Avas  a 
picture  of  the  "  Murder  of  the  Innocents  "  in  the  church  of  Trinita- 
di-Monti  at  Rome. 

G  C        Alberti,  Cherubino,  born  at  Borgo  S.  Sepolcro 

/  \3  A\S     (15^2-1615).     Son  of  the   precedini:,  by  whom 

•L  J-)  f  y  S3  he  Avas  instructed  in  painting.  His  principal 
pictures  were  in  the  church  of  S.  Maria  in  Via  at  Rome.  He 
is  chiefly  distinguished  as  an  engraver.  It  is  not  knoAvn  Avith  Avhom 
he  studied  this  art,  but  his  plates  are  remarkable  for  his  time.  They 
seem  to  have  been  executed  entirely  Avith  the  graver,  the  point  not 
being  used.  His  figures  were  better  than  his  draperies.  His  prints 
have  preserved  some  of  the  friezes  of  Polidoro  da  Caravaggio,  which 
were  upon  the  facades  of  public  edifices,  and  have  been  destroyed. 
His  plates  number  about  180,  of  which  75  are  from  his  OAVH  designs. 
The  folloAving  are  some  of  the  best  designed  by  himself  :  — 
2 


UNIVERSITY 


18  ALBERTI  —  ALBINI. 

Portrait  of  Pope  Gregory  XIII ;  oval ,  with  ornaments. 

Portrait  of  Pope  Urban  VII. ;  oval,  with  ornaments. 

Portrait  of  Henry  IV.,  of  France  ;  oval,  1595. 

Portrait  of  Pietro  Angelo  Bargeo. 

Judith,  with  the  head  of  Holofernes. 

The  Nativity  ;  inscribed,  Deus  omnipotens,  etc. 

The  Flight  into  Egypt,   1574. 

Another   Holy  Family  ;   S.  Joseph  seated,  with  a  Book. 

The  Body  of  Christ  supported  in  the  Clouds  by  an  Angel,  in- 
scribed, Magnum  pietatis  opus,  etc. 

The  Virgin  Mary  and  Infant  in  the  Clouds  ;  inscribed,  Reyina 
cceli. 

Mary  Magdalene  Penitent,    1582. 

S.  Catherine  receiving  the  Stigmata,  1574. 

S.  Christian  drawn  out  of  the  Sea. 

S.  Francis  receiving  the  Stigmata,   1599. 

S.  Charles  of  Borromeo,  kneeling  before  the  Virgin  and  Infant, 
1612. 

Six  of   Children,  for  ceilings  ;   dedicated  to  Card.  Visconti,  1607. 

Albert!,  Giovanni,  born  at  Borgo  S.  Sepolcro  (1558-1601). 
Brother  of  Cherubino,  and  instructed  by  their  father.  He  excelled 
in  landscapes  and  perspective,  and  the  figures  in  his  pictures  were 
often  done  by  Cherubino.  Pope  Gregory  XIII.  employed  him  in  the 
Vatican,  and  Clement  VIII.  in  the  Lateran.  His  portrait  is  in 
S.  Luke's  Acad. 

Albert!,  Duraiite,  born  at  Borgo  S.  Sepolcro  1538,  died  at  Rome 
1613.  Went  to  Rome  when  very  young.  Gregory  XIII.  was  then 
Pope.  He  soon  distinguished  himself,  and  his  pictures  are  in  several 
places  in  Rome.  He  was  buried  with  great  distinction  in  the  Chiesa 
del  Popolo,  and  his  portrait  is  in  the  Acad.  of  S.  Luke.  In  the 
ch.  of  S.  Maria  de  Monti  he  painted  "  The  Annunciation,"  and  in 
S.  Girolamo  della  Carita,  an  entire  chapel  in  fresco,  and  the  altar- 
-piece  in  oil,  which  last  represented  the  Virgin  and  infant  Saviour 
with  SS.  Bartolomeo  and  Alessandro. 

Alberti.  There  were  other  artists  of  this  name,  whose  works 
are  not  well  denned.  Antonio  of  Ferrara  lived  in  1450,  and  had  a 
son  of  the  same  name.  Pietro  Francisco  (1584-1638)  was  a  son  of 
Durante,  and  was  a  painter  and  engraver. 

Albertoni,  Paolo,  died  about  1695.  This  artist  was  a  follower 
of  Carlo  Maratti,  and  painted  in  his  style.  Some  of  his  pictures  are  in 
the  churches  of  S.  Carlo,  S.  Maria,  and  other  churches  in  Rome. 

Albertus,  H.  C.,  born  in  Saxony;  died  1680.  His  portrait  of 
John  Seckendorff,  rector  and  professor  of  Zwickau,  is  a  fine  work  of 
art. 

Albini,  Alessandro.  Zani  says  he  was  born  in  1586  and  died  in 
1646.  Malvasia  calls  him  a  Bolognese,  and  a  disciple  of  the  school 


ALBINI  — ALDEGREVER.  19 

of  the  Caracci.  He  made  designs  for  the  funeral  ceremonies  of 
Agostino  Caracci,  which  greatly  added  to  his  reputation.  At  Bo- 
iogna  there  is  a  picture  by  this  master  in  the  ch.  of  S.  Michele  in 
Bosco,  representing  the  "  Sepulture  of  SS.  Valerian  and  Tiburtius," 
and  another  in  S.  Pietro  Martire,  representing  SS.  Peter,  Cather- 
ine, and  Cecilia. 

Alcameiies,  born  at  Athens,  scholar  of  Phidias,  perhaps  of 
CYitias  also.  Brass-caster,  sculptor,  toreutcs,  and  cleruchos  in  Leni- 
nos.  He  nourished  from  444  to  400  B.  c.  His  chief  productions 
were  images  of  the  gods.  Among  these  were  two  statues  of  Athene, 
one  of  which,  after  the  expulsion  of  the  thirty  tyrants  by  Thrasybu- 
1ns,  w;is  placed  in  the  temple  of  Hercules  at  Thebes,  together  with 
a  colossal  statue  of  Hercules  by  the  same  sculptor  (403  B.  c.)  ;  a 
three-formed  IVeate  (the  first  of  its  kind),  and  a  Procne  in  the 
Acropolis  at  Athens  ;  a  statue  of  Mars  in  the  temple  of  that  god  at 
Athens  ;  the  Battle  of  the  Centaurs  and  Lapitluu  upon  the  western 
pediment  of  the  temple  at  Olyinpia  ;  an  .Esculapius  at  Mantineia ;  a 
bronze  statue  of  the  victor  in  the  Pentathlon ;  and  a  statue  of 
Ilepha'stns  which  represented  his  lameness  without  making  it  a 
deformity.  But  the  most  renowned  of  all  his  works  was  his  "  Venus," 
called  from  where  it  was  set  up,  'H«V  /oJTnm  A^poSn-T?.  The  breasts, 
hands,  and  cheeks  were  particularly  admired  ;  and  it  was  said  that 
Phidias  put  the  finishing  touches  to  this  work.  Some  suppose  that 
this  was  the  statue  which  took  the  prize  from  that  of  Agoracritns. 
There  is  also  a  story  that  Alcaniencs  and  I'hidias  contended  in  mak- 
ing a  statue  of  Athene,  and  that  before  they  were  set  up  that  of  the 
pupil  was  most  admired  for  its  beautiful  finish,  but  when  they  were 
in  place  the  strong  lines  of  that  of  the  master  were  so  effective  that 
the  Alhenians  gave  him  the  preference. 
•  /  Aldegrever,  Heinrich,  born  at  Soest  in  Westphalia, 

r^\  (1002-1. 002).  As  a  painter  he  is  less  important  than  as  an 
*•  '  engraver.  His  style  so  closely  resembles  that  of  Albert 
Durer  that  he  has  been  railed  Albert  of  Westphalia.  His  works  show 
untiring  labor,  but  his  figures  are  often  deformed  and  even  hideous. 
In  the  Berlin  Gall.,  a  picture  by  him  of  the  "Last  Judgment"  is 
very  peculiar,  especially  in  the  upper  part  where  Christ,  the  Virgin, 
and  John  the  Baptist,  are  represented  ;  the  trumpet-angels  and  the 
demons  among  the  damned  are  worthy  of  notice,  and  in  fact  the 
whole  picture  is  \  cry  striking.  In  the  National  Gall.,  London,  there 
is  a  u  Crucifixion  "  by  Aldegrever.  In  the  Berlin  Mus.  there  is  a  por- 
trait of  an  old  man,  and  in  the  Lichtcnstein  Gall,  at  Vienna  one  of 
a  youth,  which  is  clever.  His  prints  are  numerous.  Among  the  por- 
trait s,  those  of  Luther,  Melanchthon,  John  of  Leyden,  and  Bernard 
Knippcrdolling,  deserve  notice.  Of  historical  and  religious  subjects 
there  are  no  less  than  one  hundred  and  thirty-nine  well-known 
plates.  In  one  of  Titus  Manlius,  ordering  the  execution  of  his  son, 


20         ALDEGREVER  —  ALDROVANDINI. 

the  instrument  of  death  resembles  the  French  guillotine  ;  this  is  dated 
1533.  Thirteen  plates  of  the  "  Labors  of  Hercules  "  are  fine  and  rare, 
and  the  etching  of  "  Orpheus  and  Eurydice,"  the  only  one  of  this 
master,  is  very  rare. 

Aldighiero,  01  Altichiero  da  Zevio,  a  native  of  Zevio,  near 
Verona,  was  a  painter  of  the  early  Paduan  School.  He  decorated 
the  chapel  of  S.  Felice  in  S.  Antonio  at  Padua  with  wall  paintings, 
about  1370.  Liibke  says  he  displayed  in  his  works  a  lively  concep- 
tion and  richly  finished  coloring.  The  pictures  in  this  chapel  repre- 
sent scenes  from  the  legend  of  S.  James  Major.  That  of  the  land- 
ing of  the  body  of  the  saint  on  the  coast  of  Spain,  is  especially  fine. 
He  was  associated  with  D'Avanzo  Veronese,  who  was  one  of  the 
worthiest  of  the  followers  of  Giotto,  and  their  pictures  were  equal 
to  any  of  the  school  of  that  master.  Aldighiero  was  so  much  asso- 
ciated with  other  artists  that  there  have  arisen  never-ending  disputes 
as  to  what  he  did  or  did  not  do,  but  the  records  show  that  he 
painted  the  chapel  of  S.  Felice.  In  the  work  of  Crowe  and  Caval- 
caselle,  it  is  said  to  be  no  exaggeration  to  call  this  chapel  the  noblest 
monument  of  the  pictorial  art  of  the  fourteenth  century,  and  that 
none  but  the  greatest  Florentines  had  done  better. 

"  Aldobrandini  Marriage."  This  is  one  of  the  most  valuable 
relics  of  ancient  painting.  It  was  discovered  on  the  Esquiline  Hill, 
near  the  arch  of  Gallienus,  in  the  early  part  of  the  seventeenth  cen- 
tury, during  the  time  of  Clement  VIII.  It  was  taken  from  the  wall, 
and  became  the  possession  of  Cardinal  Aldobrandini,  who  after  hav- 
ing it  restored  by  Domenico  del  Frate,  placed  it  in  his  villa  on  the 
Quirinal ;  hence  its  name.  It  is  a  composition  of  ten  figures,  and 
represents  three  scenes  arranged  like  an  ordinary  bas-relief.  In  the 
centre  the  bride  is  seated  on  a  bed,  while  another  female  speaks  to 
her ;  the  bridegroom  is  crowned  with  ivy,  and  seated  on  a  stool  at 
the  end  of  the  bed  with  his  face  turned  to  the  bride.  On  one  side 
the  attendants  make  ready  a  bath ;  on  the  other  musicians  sing  the 
"  Epithalamium  "  or  wedding  song.  In  1818  Pius  VII.  paid  10,000 
scudi,  or  about  2,000  guineas  for  this  fresco,  and  placed  it  in  the  col- 
lection of  the  Vatican. 

Aldrovandini,  Mauro,  born  at  Bologna  (1649-1680).  An  eminent 
architect.  As  a  painter  he  belonged  to  the  School  of  Cignani,  with 
whom  he  painted  in  the  Palazzo  Publico  at  Forli. 

Aldrovandini,  Tommaso,  born  at  Bologna  (1653-1736).  Nephew 
of  Mauro,  by  whom  he  was  instructed.  He  excelled  in  perspective 
and  architectural  views,  and  worked  much  with  Carlo  Cignani  and 
Antonio  Franceschini,  who  executed  figures.  In  conjunction  with 
the  latter,  Tommaso  painted  the  "  Council  Chamber  of  Genoa,"  his 
greatest  work. 

Aldrovandini,  Pompeo  Agostino  (1677-1739).  Cousin  and 
pupil  of  Tommaso.  One  of  the  most  celebrated  Italian  painters  of 


ALDROVANP1NI  —  ALFANI.  21 

his  time.  He  worked  in  oil,  fresco,  and  distemper,  and  was  much 
employed  on  the  public  buildings  of  Vienna,  Dresden,  and  Prague. 

Aleman,  Cristobal,  introduced  the  art  of  glass- painting  in  Se- 
ville and  painted  a  window  for  the  Cath.  in  1504. 

Alen  or  Olen,  Jan  van,  born  at  Amsterdam  (1G51-1698).  A 
painter  of  landscapes  and  still-life.  A  good  imitator  of  Melchior 
Hondekoetor. 

Aleni,  Tommaso,  born  at  Cremona  (1500-1560).  Scholar  of 
Galeazzo  Campi.  His  works  were  so  much  like  those  of  his  master 
as  to  be  distinguished  with  difficulty,  as  may  be  seen  in  the  ch.  of 
S.  Doinenico  at  Cremona. 

Alesio,  Mateo  Perez  de,  born  at  Rome.  Flourished  about  1585  ; 
died  1600.  Tic  went  ID  Spain,  attracted  by  the  generous  love  of  art 
of  King  Philip  II.  His  chief  works  were  fresco-paintings  in  the 
churches  of  Seville.  Grandeur  of  design  was  his  chief  characteris- 
tic. In  the  Cath.  of  Seville  he  painted  a  S.  Christopher,  which  is 
still  preserved.  The  figure  of  the  saint  is  thirty-three  feet  high,  and 
his  leg  is  three  feet  across  the  calf.  This  was  done  in  1584.  He 
also  painted  in  the  ch.  of  S.  Miguel,  and  other  public  edifices.  Ale- 
sio was  almost  the  first  to  acknowledge  the  superiority  of  Luis  de 
Vargas,  but  it  is  said  that  he  returned  to  Rome,  because  the  pictures 
of  Vargas  were  preferred  to  his  own. 

Alexander,  Francis,  born  in  Windham  County,  Conn.,  in  1800. 
At  eighteen  he  was  a  school-teacher.  He  commenced  his  painting 
by  attempting  to  reproduce  in  water-colors  the  beauties  of  some  fish 
he  had  caught.  His  success  was  a  surprise,  both  to  himself  and  his 
mother,  who  encouraged  his  further  use  of  the  brush.  In  spite  of 
scanty  means  he  went  to  New  York,  ami  studied  with  the  Scotchman. 
Alexander  Robertson.  He  made  friends,  and  received  some  com- 
missions in  Providence.  From  there  he  went  to  Boston,  and  soon 
made  a  i^ood  reputation  as  a  portrait  painter.  In  1831  he  went  to 
Italy,  where  he  resided  tor  many  \ears.  In  1833,  together  with 
Harding,  Fisher,  and  others,  he  exhibited  a  number  of  his  pictures 
in  Boston. 

Alfani,  Domenico  di  Paris,  born  at  Perugia  1483,  living,  1553  ; 
time  of  death  not  known.  Scholar  of  Perugino.  He  was  an  ardent 
admirer  of  Raphael,  whose  style  he  imitated;  had  little  originality. 
In  middle  life  he  caused  his  family  of  natural  children  to  be  legiti- 
mi/ed  and  made  his  son  Orazio  his  partner.  He  was  a  registered 
master  in  Perugia  in  1510.  The  earliest  known  picture  of  his  is  a 
u  Madonna  and  Child  with  SS.  Gregory  and  Nicholas  "  in  the  Collcgio 
Gregoriano  at  Perugia.  It  is  on  wood,  in  oil,  figures  life-size,  dated 
1518.  A  fine  picture,  full  of  the  beauties  of  Raphael.  In  the 
ch.  of  S.  Francisco  at  Bettona  is  a  fine  fresco  of  the  "  Virgin  and 
Child  "  with  four  saints,  which  reminds  one  of  the  "  Madonna  di 
Foligno."  At  Diruta  in  the  ch.  of  S.  Antonio  Abbate,  there  are 


22  ALFANI  —  ALFARO. 

four  pictures  representing  scenes  in  the  life  of  S.  Anthony  ;  much 
injured.  In  the  Cath.  of  Citta  della  Pieve  is  an  altar-piece  by 
Domenico  :  wood,  oil,  figures  life  size,  dated  1521.  In  the  gallery 
at  Perugia  a  "  Virgin  and  Child  "  with  saints  and  angels  :  wood,  oil, 
figures  life  size.  In  1527  Rosso  was  at  Perugia  with  Alfani,  and  from 
that  time  his  style  seems  changed,  which  may  be  seen  in  the  pictures 
at  S.  Giuliana  at  Perugia.  In  1553  the  father  and  son  together 
painted  a  ';  Crucifixion  "  for  S.  Francesco  at  Perugia,  and  as  they 
painted  much  in  conjunction,  there  are  various  pictures  which  cannot 
be  assigned  to  either  one.  One  of  these  is  a  graceful  "  Holy  Family  " 
in  the  tribune  of  the  Uffizi.  In  1525  he  painted  frescoes  at  the 
villa  of  Prepo  near  Perugia.  In  1527  he  was  commissioned  to  paint 
an  altar-piece  for  Castel  Rigone.  In  1535  he  painted  the  arms  of 
Paul  III.  on  the  Pal.  of  Perugia ;  in  1536  a  "  S.  Louis  "  in  S.  Fran- 
cesco, and  in  this  same  year  married  the  mother  of  his  children. 
His  will  was  made  in  1549,  and  as  before  said,  he  was  living  in 
1553. 

Alfaiii,  Orazio  di  Paris,  born  at  Perugia  1510,  died  at  Rome 
1583.  Also  a  pupil  of  Perugino  and  an  admiring  imitator  of  Ra- 
phael. His  reputation  more  than  equalled  that  of  his  father.  In 
the  transept  of  S.  Francesco  at  Perugia  is  a  "  Nativity  "  by  this  artist, 
singular  for  the  introduction  of  "  S.  Anna  "  who  has  a  basin  of  water ; 
said  to  have  been  dated  153G.  Perugia  Gall.,  No.  59,  formerly  in 
the  Carmine,  is  a  work  of  Orazio's,  as  are  also  Nos.  140,  142,  159, 
132,  163,  144,  145,  and  146,  in  the  same  gallery.  There  are  several 
of  his  works  in  S.  Francesco  and  S.  Pietro  at  Perugia.  At  the 
Louvre  "  The  Marriage  of  S.  Catherine,"  No.  26,  dated  1548,  is  by 
this  master.  There  are  many  more  of  his  pictures,  in  Perugia  men- 
tioned in  the  Guides.  Orazio  was  registered  in  the  guild  of  Perugia 
in  1545  ;  elected  architect  of  the  town  in  1576,  but  retained  the 
office  a  very  short  time.  He  was  first  president  of  the  Acad.  of 
Perugia,  founded  in  1573. 

Alfaro  y  Gamon,  Don  Juan  de,  born  at  Cordoba  1640,  died 
at  Madrid  1680.  He  studied  first  with  Antonio  de  Castile,  and  then 
with  Velasquez.  His  pictures  imitate  the  latter,  and  also  remind  one 
of  Vandyck  in  color.  He  is  said  to  have  been  very  vain,  and  to 
have  copied  some  prints,  and  put  on  each  of  them,  Alfaro  pinxit. 
To  punish  him,  Castillo  painted  one,  and  subscribed  it  Non  pinxit 
Alfaro,  which  passed  into  a  proverb.  He  was  also  a  poet,  and 
had  good  literary  attainments,  but  his  memory  is  stained  by  in- 
gratitude. The  Admiral  of  Castillo  was  his  patron  ;  still  when  he 
was  banished  Alfaro  forsook  him,  and  yet  did  not  hesitate  to  solicit 
his  patronage  when  recalled.  The  rebuff  he  received  is  said  to  have 
brought  on  melancholy  and  caused  his  death.  In  the  ch.  of  the 
Carmelites  is  his  "  Incarnation,"  and  at  Madrid,  in  the  ch.  of  the 
Imperial  College  his  celebrated  "  Guardian  Angel." 


ALFON  —  ALLAN.  23 

Alfon,  Juan,  born  at  Toledo.  In  1418  he  painted  several  reliqua- 
ries for  the  Cathedral  which  are  still  preserved. 

Algardi,  Alessandro,  born  at  Bologna  1598.  He  was 
an  architect,  sculptor,  and  engraver.  A  pupil  of  Giulio 
'  Cesare  Conventi.  His  plates  which  remain  are  few  ;  they 
are  executed  with  a  graver,  in  the  free  bold  manner  of  Agostino 
Caracci,  and  are  as  follows  :  — 

A  large,  upright  plate  of  The  Crucifixion. 

The  Souls  delivered  from  Purgatory  ;  oval. 

The  Blind  Beggar  and  his  Dog  ;  after  Caracci. 

Eighty  plates  of  the  Cries  of  Bologna ;  after  Caracci. 

These  were  executed  in  conjunction  with  Simon  Guillain.  He  is 
best  known  as  a  sculptor  by  a  large  rilievo  in  marble,  over  an  altar 
in  S.  Peter's  at  Rome.  It  represents  the  appearance  of  SS.  Peter 
and  Paul  to  Attila  and  his  hosts.  While  this  work  has  some  merit, 
it  has  great  faults,  especially  those  of  confusion  and  want  of 
breadth. 

Aliamet,  Jacques,  born  at  Abbeville  1728,  died  in  Paris  1788. 
An  engraver  who  excelled  in  landscapes  and  sea-pieces. 

Aliamet,  Frai^ois  Germain,  younger  brother  of  Jacques.  Born 
at  Abbeville  1734.  After  studying  engraving  in  Paris,  he  went  to 
London,  where  he  was  under  Sir  Robert  Strange.  His  works  were 
inferior  to  his  brother's,  and  consisted  of  portraits  and  historical 
subjects. 

Aliberti,  Gio.  Carlo,  born  at  Asti  (1680-1740).  His  prin- 
cipal works  were  frescoes  in  his  native  city.  He  painted  the  cupola 
of  S.  Agostino,  and  other  pictures  for  the  same  church.  Bryan 
says,  "  His  style  consists  of  a  mixture  of  Maratta,  of  Gio.  da  S. 
Giovanni,  and  of  Correggio ;  heads  and  feet  that  might  be  attrib- 
uted to  Guido  or  Domenichino  ;  forms  peculiar  to  the  Caracci ;  dra- 
pery of  Paolo,  and  colors  of  Guercino." 

Alibrandi,  Girolamo,  born  at  Messina  (1470-1524).  Pupil  of 
Gio.  Bellini,  and  a  friend  of  Giorgione  at  Venice,  where  he  spent 
many  years.  IL-  then  entered  (lie  school  of  Leonardo  at  Milan. 
He  has  been  calleil  the  Raphael  of  Messina.  The  chef-d'oeuvre  of 
Messinian  pictures  is  his  "Purification"  in  the  ch.  of  Candelora. 
It  has  perspective,  grace,  and  pleasing  color.  Polidoro  admired  it  so 
in i u-li  that  he  painted  a  "  Deposition  from  the  Cross  "  in  distemper, 
t<>  serve  as  a  cover  and  protection  to  it. 

Aliense.     Sec  Vassilacchi. 

Allan,  David,  born  at  Alloa,  Scotland  (1744-1796).  After 
studying  in  the  Academy  at  Glasgow,  he  went  to  Italy,  and  took  the 
pri/e  medal  at  the  Acad.  of  S.  Luke,  for  the  best  historical  com- 
position. It  is  difficult  to  understand  how  he  could  have  excelled, 
judging  from  his  etchings,  or  the  engravings  from  his  pictures. 

Allan,  Sir  William,  born  at  Edinburgh    (1782-1850).     Studied 


2±  ALLAN  —  ALLEGRI. 

at  the  same  time  as  Wilkie  in  the  Trustees'  Acad.  in  his  native 
city.  He  went  to  London,  where  he  met  with  no  success,  and  in  1805 
went  to  St.  Petersburg,  where  he  made  a  good  name,  as  a  portrait 
painter.  He  visited  the  interior  of  Russia,  Tartary,  and  Turkey. 
He  afterwards  painted  pictures  illustrative  of  the  scenes  of  those 
countries,  such  as  the  "  Circassian  Captives,"  "  Prisoners  conveyed 
by  Cossacks  to  Siberia,"  etc.  He  returned  to  England  in  1814.  In 
1830  visited  the  continent;  in  1834  went  to  Spain;  in  1838  became 
president  of  the  Royal  Academy  of  Scotland,  was  the  successor  of 
Sir  David  Wilkie,  as  Limner  to  the  Queen  in  Scotland,  and  was 
knighted  in  1842.  In  1843  he  exhibited  the  "  Battle  of  Waterloo," 
now  in  the  Coll.  of  the  Duke  of  Wellington.  In  1844  he  went 
again  to  Russia,  and  after  his  return,  painted  the  picture  now  in  the 
winter  palace  of  the  Emperor,  representing  "  Peter  the  Great  teach- 
ing the  Art  of  Ship-building  to  his  Subjects."  He  died  in  his  studio 
at  Edinburgh,  before  an  unfinished  picture  of  the  "  Battle  of  Ban- 
nockburn." 

Allegri,  Antonio  da  Correggio,  or  Antonio  Lieto  da  Correggio. 
Allegri  and  Lieto  are  synonymous,  and  have  the  same  meaning  as 
the  Latin  Leatus  (joyful).  Born  at  Correggio  (1494-1534).  His 
father,  Pellegrino  Allegri,  was  a  respectable  merchant.  Very  little^ 
is  known  of  the  early  life  of  Correggio,  but  it  is  thought  that  he  was* 
a  pupil  of  Tonino  Bartoletto  of  his  native  city.  He  probably  studied 
the  works  of  Leonardo  da  Vinci,  and  the  painters  of  Mantua  and 
Modena,  for  he  fled  to  Mantua  in  1511  on  account  of  the  plague  at 
Correggio.  He  appears,  however,  to  have  been  largely  the  founder 
of  his  own  style.  He  is  the  greatest  master  of  light  and  dark,  or 
chiaro-scuro,  whether  effected  by  color  or  shades.  His  management 
of  light  was  wonderful ;  he  gave  the  most  brilliant  effect  without 
dazzling,  and  his  deepest  shades  were  not  dull.  In  all  his  subjects 
there  is  life  and  motion.  He  loved  to  depict  the  joyousness  of  child- 
hood, while  his  representation  of  earthly  love  was  blissful,  and  that 
of  heavenly  love  fervent.  If  sorrow  was  represented,  it  was  deep- 
ened by  the  contrast  with  his  usual  joyousness.  His  passion  seems 
to  have  been  foreshortening  and  violent  perspective.  For  his  cupola 
paintings,  this  was  a  necessity,  but  he  used  it  often  apparently  for 
the  mere  love  of  it,  as  in  one  instance  he  painted  a  "  Madonna"  sit- 
ting on  her  throne  as  if  seen  from  below,  and  her  knees  appear  almost 
to  touch  her  breast.  He  was  the  first  modern  artist  who  excelled  in 
chiaro-scuro,  and  is  allowed  to  be  still  unequalled.  When  twenty-five 
years  old,  he  was  at  Parma,  and  had  an  established  reputation.  In 
1520  he  contracted  to  paint  the  dome  of  S.  Giovanni  Evangelista, 
the  payments  for  which  extended  through  four  years.  He  had  pre- 
viously painted  in  Parma,  some  mythological  designs  for  the  convent 
of  S.  Paolo.  We  are  amazed  that  these  designs  were  chosen  for 
a  cloister;  but  Lanzi  says,  u  Our  wonder  will  cease,  when  we  reflect, 


ALLEGRI.  25 

that  the  same  place  was  once  the  residence  of  a  lady  abbess,  at  a 
time  when  the  nuns  of  S.  Paolo  lived  unguarded  by  grates,  in 
which  every  abbess  sought  to  enjoy  herself,  held  jurisdiction  over 
lands  and  castles,  and  independent  of  the  bishop,  lived  altogether  as 
a  secular  personage."  At  Correggio,  before  this  time,  Allegri  had 
painted  altar-pieces.  The  Madonna  at  Dresden,  called  "  The  Madonna 
del  S.  Francesco,"  is  claimed  to  have  been  painted  when  he  was 
but  twenty-one,  and.  the  "  S.  George,"  also  at  Dresden,  is  another 
early  work.  At  S.  Giovanni  he  painted  "  The  Ascension  of  Christ," 
who  is  represented  as  suspended  in  air,  in  the  centre,  while  the  Apos- 
tles are  seated  on  the  clouds  below.  In  the  pendentives  are  the  Evan- 
gelist s  and  four  fathers  of  the  church.  This  was  the  first  instance  of 
remarkably  foreshortened  figures,  and  was  grand  in  arrangement  and 
detail.  But  Correggio  brought  his  style  to  perfection,  in  the  cupola 
of  the  cathedral,  at  Parma. 

This  was  done  between  1526  and  1530.  Here  he  represented  "  The 
Assumption  of  the  Virgin."  In  the  centre,  high  up,  is  Christ,  who 
Si-ems  to  precipitate  Himself  to  meet  his  mother.  The  principal 
group,  of  the  Virgin  borne  in  triumph  by  angels,  is  much  lower  down, 
while  between  that  and  Christ  are  several  saints,  both  male  and 
female,  which  are  wonderfully  foreshortened.  All  the  light  pro- 
ceeds from  the  glory  around  Christ.  This  occupies  but  the  upper 
half  of  the,  dome.  Below  are  the  Apostles  between  the  oblong  win- 
dows, which  are  in  this  part  of  the  dome ;  above  the  windows  are 
genii;  the  whole  is  avast  throng  of  angels,  saints,  etc.,  for  in  the 
four  pendentives  beneath  tlie  cupola,  an-  the  patron  saints  of  Parma, 
seated  on  clouds,  and  sun-minded  by  angels.  A  pious  rapture  set-ins 
to  be  diffused  through  all,  and  the  richness  and  boundlessness  of  the 
effect  can  scarcely  be  conveyed  in  language.  Of  course  these 
figures  are  all  much  foreshortened,  and  the  artist  was  told,  "  Ci  avete 
fatto  un  guazzetto  di  rane "  (you  have  given  us  a  hash  of  frogs). 
Piesidcs  these  wonderful  frescoes,  there  are  many  altar-pieces  and 
easel  pictures  by  Correggio.  One  of  the  most  beautiful  is  the  S. 
Jerome,  at  Parma,  called  l'Il  diorno,"  the  day,  in  contrast  with 
"  La  Notte,"  or  "  The  Adoration  of  the  Shepherds,"  at  Dresden. 
"  The  Marriage  of  S.  Catherine  "  is  one  of  the  most  beautiful  and 
ol'tenest.  repeated  of  his  small  pictures,  and  the  best  example  is  in  the 
Louvre.  In  Kugler's  "  Handbook,"  the  editor  remarks  in  a  foot- 
note (page  423),  when  speaking  of  this  picture  :  "  This  subject 
\\as  comparatively  late;  S.  Catherine  of  Siena  died  in  the  fourteenth 
century,  and  was  not  canonized  till  1461.  The  painters  appear  to 
have  improved  on  the  legend."  Here  is  a  mistake.  The  picture 
illustrates  the  legend  of  S.  Catherine  of  Alexandria,  who  died  in  the 
fourth  century,  and  has  no  reference  to  S.  Catherine  of  Siena.  "  La 
7/mgarella"  (the  Gypsy),  so  called  from  the  turban  worn  by  the 
Virgin,  is  a  picture  of  "  The  Repose  during  the  Flight  to  Egypt," 


26 


ALLEGRI. 


and  is  very  beautiful.  Other  important  pictures  in  the  Gall,  at  Parma 
are  "  The  Madonna  della  Scodella,"  so  called  from  the  cup  in  the 
hand  of  the  Virgin ;  "  The  Deposition  from  the  Cross,"  and  "  The 
Martyrdom  of  SS.  Placida  and  Flavia."  At  Dresden,  besides 
those  already  mentioned,  there  are  "  The  S.  Sebastian,"  which  has 
sometimes  been  called  the  most  beautiful  of  all  the  figures  of  Correg- 
gio  ;  "  The  Reading  Magdalene,"  and  a  portrait,  said  to  be  that  of 


MAGDALENE.   BY  CORREGGIO. 

Dresden  Gall. 

the  physician  to  this  master.  The  National  Gall.,  London,  has  the 
"  Ecce  Homo,"  "  Venus  and  Mercury  teaching  Cupid  his  Letters,"  and 
the  "  Vierge  au  Panier."  In  the  Coll.  of  the  Duke  of  Wellington  is 
"  The  Agony  of  Christ  upon  the  Mount  of  Olives,"  a  remarkable 
cabinet  picture  ;  it  was  presented  by  Ferdinand  VII.  of  Spain  to  the 
first  duke.  The  "  Christ  in  the  Garden  with  the  Magdalene," 
is  in  the  Madrid  Gall.  There  are  other  works  of  this  master  of  an 
entirely  different  character.  At  the  Stafford  House  Gall,  is  one  with 
a  horse  and  mule,  both  laden,  with  their  drivers,  in  the  midst  of  a 
glowing  landscape.  This  is  said  to  have  been  painted  for  a  sign  to 
sin  inn.  In  the  Berlin  Mus.  are  "Leda  and  the  Swan,"  and  "  lo 
embraced  by  Jupiter."  These  show  the  triumph  of  earthly  love,  as 
intensely  as  the  religious  pictures  present  that  of  the  heavenly.  The 
latter  picture  was  once  in  the  Orleans  Gall,  and  the  son  of  the  duke 
cut  out  the  head  of  lo  because  it  was  too  voluptuous  in  expression  ! 


ALLEGRI.  27 

The  present  head  was  the  work  of  Prud'hon.  There  is  a  copy  of 
this  picture  in  the  Vienna  Gall.,  which  is  universally  believed  to 
be  also  by  Correggio.  At  the  Borghese  Gall,  at  Rome,  is  the  pic- 
ture of  Danae.  At  the  Paris  Museum,  "  Jupiter  and  Antiope."  It 
is  said  that  when  Correggio  saw  the  pictures  of  Raphael,  his  eyes 
brightened,  and  he  exclaimed,  "  I  also  am  a  painter."  When 
Titian  saw  the  works  of  Correggio  at  Parina,  he  said,  "  Were  I  not 
Titian,  I  should  desire  to  be  Correggio."  Annibale  Carracci  wrote 
from  Parma  in  1580,  "  Tibaldi,  Niccolini,  Raphael  himself,  are 
nothing  to  Correggio."  The  monks  were  very  fond  of  Correggio, 
and  in  1520  he  was  made  a  member  of  the  Congregation  Cassinensi, 
in  the  monastery  of  S.  John  the  Evangelist  at  Parma.  Tasso  was 
also  a  member  of  this  fraternity.  This  membership  conveyed  a 
participation  in  tin;  masses,  prayers,  and  alms  of  the  community, 
and  was  accompanied  with  a  promise-  to  perform  the  same  oflices  for 
the  repose  of  his  soul,  and  those  of  his  family,  that  they  would  per- 
form for  their  own  number.  In  1520  he  married  Girolama  Merlini, 
a  lady  of  good  family,  very  gentle  and  lovely.  She  wa,s  probably 
]i\^  model  foi-  »  La  Zingarella  ''  after  the  birth  of  his  first  child.  She 
bore  him  one  son  and  three  daughters,  and  died  in  152!).  He  did 
not  marry  again,  and  died  suddenly  in  l.~>:;i.  The  story  of  the 
great  poverty  of  ( 'orn-g'/io,  set,  forth  by  Vasari,  seems  to  have  been 

unfounded;  it  is  certainly  contradicted  by  the  quantity  and  quality 
of  the  colors  he  lavished  on  his  pictures.  The  prices  which  he 
received  —  such  as  1,000  ducats,  or  150/.  sterling  for  the  Cath.  of 
Parma,  71.  10s.  for  "La  Nolle."  etc.,  —  M-IMII  to  u>  \er\  small,  but  we 
must  consider  the  value  of  money  in  those  days,  and  these  sums  are 
not  inconsiderable.  It  is  not  known  whether  (.'orreggio  ever  visiicd 
Home  or  not,  and  various  arguments  arc  brought  to  bear  on  both 
sides  of  the  question;  but  Ortensio  Landi,  in  a  work  published  in 
1552,  says,  "he  died  young,  without  being  able  to  see  Rome." 

ENGRAVINGS    AFTER    CORREGGIO. 

fin  (/raver,  AtfDEBLONI,   Pictro.      Magdalene. 

JliKjrarcr,  AUDOUIN,  Pierre.     Jupiter  and  Antiope. 

II i HJ racer,  BAZIN,  Nicholas.  The  Virgin  Mary  suckling  the 
Infant. 

/•-'////racer,  BEAUVAIS,  Nicholas  Dauphin  de.  The  Virgin  with 
(lie  Infant  Jesus  upon  a  pedestal,  and  several  saints  below. 

/•-'/////•a/vr,  BF.ttci.it.  Daniel.     The  Virgin  and  Child. 

fiin/rurcr.  I>I:K.N  AI:I>.  Samuel.  Mezzotinto,  The  Repose  ;  called 
La  ZiiK/arella. 

Engraver,  BERTELLT,  Cristofano.  The  Virgin  and  Infant,  with 
SS.  Sebastian.  Francis,  and  Roch. 

KiHjraver,  BONAVKRA,  Domenico  Maria.  The  Cupola  at  Parma  ; 
the  Assumption.  Dnminico  Bonavcra,  sc.  1697. 


28  ALLEGBI. 

Engraver,  BRIZZIO  or  BRICCIO,  Francesco.     The  Holy  Family. 

Engraver,  CAPITELLI,  Bernardo.     The  Marriage  of  S.  Catherine. 

Engraver,  CARACCI,  Agostino.  The  Virgin  and  Infant  with  Mag- 
dalene; S.  Jerome  and  an  Angel  ;  1586. 

Engraver,  CHATEAU  or  CIIASTEAU,  William.  The  Repose  in 
Egypt. 

Engraver,  CORT,  Cornelius.  The  Marriage  of  S.  Catherine;  S. 
Jerome. 

Engraver,  CUNEGO,  Domenico.     The  Virgin  and  Infant. 

Engraver,  DUCHANGE,  Gaspar.  Jupiter  and  lo;  Jupiter  and 
Danae  ;  Jupiter  and  Leda. 

Engraver,  EARLOM,  Richard.      The  Repose,  called  la  Zingara. 

Engraver,  EDELINCK,  Nicholas.     The  Virgin  and  Infant. 

Engraver,  FESSARD,  Stephen.     S.  John  Baptist,  with  other  saints. 

Engraver,  FREZZA,  Gio.  Girolamo.  The  Repose,  called  la  Zin- 
gam. 

Engraver,  JODE,  Arnold  de.     Mercury  educating  Cupid. 

Engraver,  LORENZINI,  Fra  Antonio.  S.  John  surrounded  with 
angels. 

Engraver,  MENAGEOT,  Robert.     Friendship  ;  a  circular  print. 

Engraver,  MERCATI,  Gio.  Batista.  The  Marriage  of  S.  Cath- 
erine. 

Engraver,  MITELLI,  Giuseppe  Maria.  The  Adoration  of  the  Shep- 
herds, called  La  Notte. 

Engraver,  MOGALLI,  Como.     The  Holy  Family. 

Engraver,  PICART,  IStienne.  The  Marriage  of  S.  Catherine. 
Virtue  triumphant  over  Vice  ;  The  Sensualist. 

Engraver,  PORPORATI.  Jupiter  and  Leda  ;  The  Madonna  with 
the  Rabbit  ;  Leda  and  the  Swan,  and  Leda  bathing  ;  La  Zingarella. 

Engraver,  Rossi,  Girolamo.    The  Virgin  and  Infant  Jesus. 

Engraver,  SANUTO  or  SANUTUS,  Giulio.     Apollo  and  Marsyas. 

Engraver,  SMITH,  John.     Venus  standing  in  a  Shell. 

Engraver,  SORNIQUE,  Dominique.     Diana  and  her  Nymphs. 

Engraver,  SPIERRE,  Francis.  The  Virgin  suckling  the  infant 
Christ. 

Engraver,  STEEN,  Francis  Vander.  Cupid  shaping  his  Bow  ;  Ju- 
piter and  lo  ;  Ganymede.  - 

Engraver,  STRANGE,  Sir  Robert.     The  Magdalene. 

Engraver,  SURRUGUE,  Peter  Louis.  The  Adoration,  called  u  La 
Notte." 

Engraver,  TROYEN,  John  Van.     Magdalene  Penitent. 

Engraver,  VOLPATO,  Gio.     Christ  praying  on  the  Mount. 

Engraver,  WATSON,  Thomas.  The  Virgin  with  the  infant  Jesus 
and  S.  John. 

Allegri,  Pomponio  Quirino,  son  of  Antonio,  born  at  Correggio 
1521.  He  was  but  thirteen  when  his  father  died,  therefore  he  could 


ALLEGRI  —  ALLOHI.  29 

derive  but  small  benefit  from  him,  except  in  the  study  of  his  works. 
He  had  fair  abilities,  and  was  established  at  Parma,  where  he  was 
constantly  employed  until  1593.  In  the  Cath.  of  Parma  there  is 
a  IV<-sco  by  him  representing  Moses  just  after  he  received  the  Tables 
of  the  Law,  and  is  showing  them  to  the  Israelites. 

Allegriui,  Francesco,  born  at  Florence;  1729.  A  designer  and 
engraver.  In  1762  he  published  one  hundred  portraits  of  the  Medici 
family  with  a  frontispiece,  all  engraved  by  himself.  He  made  a 
print  of  S.  Francesco  d'Assisi,  which  is  much  esteemed  in  Florence. 
He  also  engraved  other  eminent  poets,  painters,  and  men  of  Florence. 

Allegrini,  Francesco,  called  da  Gubbio  (1587-1663).  A  disciple 
of  Giuseppe  Cesari,  called  II  Cavalicre  d'Arpino.  He  painted  in 
oil  and  fresco,  but  mostly  in  the  latter.  At  Gubbio  he  painted 
the  cupola  of  the  Sacrament  in  the  Cath.,  and  another  at  the 
Madonna  de'  Bianchi.  He  lived  at  Rome  and  worked  in  the  Casa 
Pjuifili.  Small  pictures  by  this  master  are  often  seen  in  Rome  and 
Gubbio,  which  merit  praise.  He  also  painted  figures  in  the  land- 
scapes of  Claude;  two  of  these  were  in  the  Colonna  Pal.  He 
painted  in  the  Cath.  and  Casa  Gavotti  at  Savona,  and  in  the  Casa 
Durazzo  at  Genoa.  His  two  sons,  Flaminio  and  Augelo  were  histori- 
cal painters. 

Allet,  Jean  Charles,  born  at  Paris  1668;  died  at  Rome  1732. 
Designer  and  engraver.  lie  marked  his  plates  sometimes  Charles, 
and  sometimes  Jean  Charles,  which  led  to  the  opinion  that  there 
were  two  engravers  of  the  name  of  Allet,  but  they  are  now  believed 
to  have  been  one  person.  His  engravings  are  portraits  and  subjects 
from  sacred  history. 

Alloisi.     See  Galanino. 

Allori,  Alessaiidro,  born  at  Florence  (1535-1607).  A  nephew 
of  Bronzino,  he  was  called  by  his  name,  which  he  sometimes  allixed 
to  his  pictures.  Vasari  speaks  of  him  as  living  most  lovingly,  even 
as  a  son,  with  his  uncle.  Before  he  was  seventeen  he  had  painted 
from  his  own  design,  an  altar-piece  representing  the  Crucifixion.  At 
nineteen  lie  went  to  Rome1  and  remained  two  years.  There  he 
studied  principally  the  works  of  Michael  Angela  Returning  to 
Florence  he  was  constantly  occupied  on  public  edifices,  but  painted 
Home  portraits.  He  wrote  a  book  upon  anatomy  for  the  use  of  pain- 
ters, and  was  so  much  devoted  to  this,  that  he  neglected  some  other 
branches  of  art.  He  was  a  great  mannerist,  and  his  portraits  were 
his  best  pictures,  though  some  of  the  horses  which  he  painted  in 
Rome  were  fine  ;  but  on  the  whole  he  was  little  if  any  above  medi- 
ocrity. 

Allori,  Cristoforo,  born  at  Florence  (1577-1621).  Son  of  Ales- 
sandro,  and  called  also  Bronzino.  He  was  a  pupil  of  his  father, 
whom  lie  afterwards  called  "a  heretic  in  painting,"  and  followed 
Cigoli  and  Pagani,  whose  works  he  admired.  By  some  his  execution 


3U  ALLORI  —  ALLSTON. 

was  considered  better  than  that  of  any  other  artist  of  his  time  ;  in- 
deed, he  was  so  fastidious  that  he  finished  few  pictures.  He  excelled 
in  portraits,  and  in  landscape  painting  surpassed  the  Florentines  of 
his  day.  His  best  work  is  the  "  S.  Julian,"  in  the  Pitti  Gall.,  but 
his  "  Judith  "  is  more  generally  known.  It  is  said  that  the  head  of 
"  Holofernes  "  is  his  own  portrait,  "  Judith  "  that  of  his  mistress,  and 
"  Abra,"  that  of  her  mother.  He  made  copies  of  the  "  Magdalen  " 
of  Correggio  which  passed  for  duplicates  by  the  great  master. 

Allston,  Washington,  born  at  Waccamaw,  South  Carolina,  1779; 
died  at  Cambridge,  Mass.,  1843.  He  graduated  from  Harvard  Col- 
lege in  1800,  and  went  to  London  and  studied  in  the  Royal  Acad. 
After  three  years  of  assiduous  labor  he  went  to  Paris,  and  proceeded 
to  Italy,  where  he  remained  four  years,  mostly  in  Rome.  There  he 
associated  intimately  with  Coleridge  and  Thorwaldsen.  In  1809  he 
came  to  America  and  married  Miss  Channing,  and  subsequently  fixed 
his  residence  in  London.  He  there  exhibited  ' '  The  Dead  Man  re- 
vived," which  took  the  prize  of  two  hundred  guineas  at  the  British 
Institution.  He  next  painted  "  S.  Peter  liberated  by  an  Angel," 
<now  in  the  ch.  of  Ashby-de-la-Zouch  ;  "  Uriel  in  the  Sun,"  also  a 
prize  picture,  now  belonging  to  the  Duke  of  Sutherland ;  "  Jacob's 
Dream,"  now  at  Petworth  ;  and  between  these  larger  works,  several 
smaller  ones.  He  returned  to  America  in  1818,  and  settled  in  Boston. 
He  was  elected  to  the  Royal  Acad.  in  England,  where  his  works 
were  much  esteemed.  The  only  one  he  brought  to  America,  "  Elijah 
in  the  Wilderness,"  was  sold  to  the  Hon.  Mr.  Labouchere,  and  taken 
to  England.  His  next  pictures  were  "  The  Prophet  Jeremiah,"  now 
at  Yale  College;  "  Saul  and  the  Witch  of  Endor,"  which  belonged 
to  the  late  Colonel  T.H.Perkins,  of  Boston;  "Miriam  singing  the 
Song  of  Triumph,"  also  owned  in  Boston,  by  the  late  Hon.  David 
Scars;  and  the  small  pictures  of  "Dante's  Beatrice  "  and  "The 
Valentine."  In  1830  he  married  Miss  Dana,  and  removed  to  Cam- 
bridge, where  he  passed  the  remainder  of  his  life  in  seclusion.  He 
there  painted  "  Spalatro  "  or  the  "  Vision  of  the  Bloody  Hand,"  and 
"  Rosalie"  which  belonged  to  the  Hon.  Nathan  Apple  ton.  "  The 
Spalatro  "  is  in  the  Coll.  of  John  Taylor  Johnston,  New  York. 
Mr.  William  Page,  President  of  the  National  Acad.  of  Design,  New 
York,  -said  in  a  recent  lecture,  that  when  he  praised  this  work  to 
Allston,  he  replied,  "  I  think,  perhaps,  it  is  on  the  whole  the  best 
picture  I  ever  painted."  Mr.  Page  said,  "  In  color  it  is  not  as  good 
as  the  best  of  Titian's,  yet  few  pictures  of  Titian's,  of  that  size,  are 
so  good  in  color.  In  composition  and  chiaro-scuro  it  is  one  of  the 
great  pictures.  It  is  the  best  picture  in  a  gallery  which  contains  the 
best  pictures  to  be  seen  in  America."  Allston  also  painted  some  por- 
traits. Among  them  were  that  of  Benjamin  West,  in  the  Boston 
Athenaeum,  and  one  of  Coleridge,  in  the  National  Portrait  Gall,  of 
England.  Of  the  last,  Wordsworth  said,  "It  is  the  only  likeness 


3      p 


1 1 

«•  s 


ALLSTON.  33 

which  ever  gave  me  pleasure."  In  1836,  he  was  invited  by  Congress 
to  paint  a  large  picture  for  the  Capitol,  but  his  mind  was  fixed  upon 
painting  "  Belshazzar's  Feast,"  for  which  he  had  made  a  sketch  in 
1817.  This  was  unfinished  when  he  died,  and  is  in  the  Boston  Athe- 
naeum. Allston  was  remarkable  for  the  versatility  of  his  concep- 
tions. The  beauty  of  Beatrice  and  Rosalie,  the  prophetic  sternness 
of  Jeremiah,  the  grace  of  Miriam,  the  moonlight  effects,  the  forests 
and  mountains  of  his  landscapes,  the  horror  of  Spalatro,  and  the  im- 
pressive mysteriousness  of  the  reviving  Dead  Man,  display  a  won- 
derful scope  of  thought  and  a  surprising  power  of  execution.  His 
literary  talents  were  good.  In  1813  he  published  a  poem,  "The 
Sylphs  of  the  Season,"  and  later,  "The  Two  Painters"  and 
"The  Paint  King."  In  1821,  "  Monaldi  "  was  written,  but  not 
published  until  much  later.  This  story  gives  his  own  life  in  Rome, 
mingled  with  a  story  of  passion,  the  whole  gracefully  adorned  with 
observations  upon  art,  and  descriptions  of  nature.  A  course  of  lec- 
tures which  he  wrote  upon  Art,  but  did  not  deliver,  were  published 
after  his  death.  Tuckerman  has  well  said,  "  Indeed,  the  writings 
;in<l  paintings  of  Allston  exquisitely  illustrate  each  other.  By  their 
nmlual  contemplation  we  perceive  the  individuality  of  the  artist  and 
the  pure  spirit  of  the  man  ;  and  realize  that  unity  whereby  genius 
harmonizes  all  expression  to  a  common  and  universal  principle,  mak- 
ing form  and  color,  words  and  rhyme,  express  vividly  and  truly 
what  exists  in  the  artist's  nature.  *  Rosalie,'  for  instance,  the  poem, 
is  the  reflection  of  'Rosalie,'  the  picture;  and  his  letter  describing 
a  view  among  the  Alps,  breathes  the  identical  feeling  that  pervades 
the  landscape  depicting  the  scene."  Allston  often  related  the  follow- 
in^  incident  in  his  life.  Not  long  after  he  went  to  Europe  after  his 
first  marriage,  his  pecuniary  wants  became  very  pressing.  One  day 
while  in  his  studio  the  thought  came  to  him,  that  he  merited  his  trials 
as  a  punishment  for  his  want  of  gratitude  in  the  past,  when  he  had 
been  more  prosperous.  Suddenly  he  felt  a  strong  hope  that  God 
would  answer  his  prayer  ;  he  locked  his  door,  threw  himself  on  his 
knees,  and  prayed  for  a  loaf  of  bread  for  his  wife  and  himself.  There 
was  a  knock  at  the  door;  he  opened  it  with  a  feeling  of  shame,  and 
a  fear  that  he  had  been  observed.  A  stranger  asked  for  Mr.  Allston, 
and  inquired  if  his  picture  of  "Uriel"  had  been  sold.  When  an- 
swered in  the  negative  he  asked  where  it  could  be  found.  "  Here,  in 
this  very  room,"  replied  Allston, 'and  he  brushed  the  dust  from  the 
picture  and  brought  it  forward.  When  the  price  was  demanded,  All- 
ston said  he  had  done  fixing  a  sum,  for  his  price  had,  so  far, 
exceeded  his  offers.  "Will  £400  be  an  adequate  recompense?" 
asked  the  stranger.  "It  is  more  than  I  have  ever  asked,"  said  All- 
ston. "  Then  it  is  mine,"  replied  the  Marquis  of  Stafford,  for  he  it 
was.  From  this  hour  they  were  the  warmest  friends.  By  him  All- 
ston was  introduced  into  society,  and  soon  became  a  favored  guest  in 
a,  circle  which  embraced  many  gifted  minds. 


34  ALMELOVEN  —  ALTDORFER. 

Almeloven,  John,  born  about  1614  or  1624.  Dutch  engraver  and 
painter.  Best  known  by  some  etchings  of  landscapes. 

Alsloot,  Daniel,  born  at  Brussels  (1550-1608).  Landscape 
painter. 

Alsloot,  Denis  van,  flourished  in  early  part  of  the  seventeenth 
century.  Painter  of  landscapes  and  portraits. 

Altamonte,  or  Altamonti,  Martin,  born  at  Naples,  some  say  in 
1657,  and  others,  in  1682;  died,  1745.  He  was  among  the  best 
painters  of  his  time.  His  subjects  were  historical  and  architectural. 

Altdorfer,  Albrecht,  born  at  Altdorf  in  Bavaria,  1488,  died  at 
Ratisbon,  or  Regensburg,  1538.  He  is  said  to  have  been  a  pupil 
of  Albert  Durer's,  but  this  lacks  confirmation.  He  was  a  painter, 
and  an  engraver  on  copper  and  wood.  Kugler  says,  "  He  seized 
the  fantastic  tendency  of  the  time  with  a  poetic  feeling  at  once 
rich  and  pleasing,  and  he  developed  it  so  as  to  attain  a  perfection 
in  this  sort  of  romantic  painting,  such  as  no  other  artist  has  ever 
realized."  He  is  one  of  the  best  of  the  "  little  painters  "  of  Ger- 
many. The  latter  portion  of  his  life  was  given  to  painting,  as  his 
last  prints  were  dated  1525.  Some  of  his  works  display  wonderful 
patience  when  we  compare  their  size  and  the  number  of  figures.  That 
of  the  "  Victory  of  Alexander  at  Arbela,"  is  purely  Gothic  in  design, 
and  the  costumes  such  as  were  worn  in  1529  when  it  was  painted.  It 
has  been  said  to  contain  more  figures  than  any  other  picture.  Schlegel 
says,  "  It  is,  in  truth,  a  little  world  on  a  few  square  feet  of  canvas  ;  the 
hosts  of  combatants,  who  advance  on  all  sides  against  each  other,  are 
innumerable,  and  the  view  into  the  background  appears  interminable. 
In  the  distance  is  the  ocean,  with  high  rocks,  and  a  rugged  island 
between  them  ;  ships  of  war  appear  in  the  offing,  and  a  whole  fleet 
of  vessels  ;  on  the  left,  the  moon  is  setting  ;  on  the  right,  the  sun 
rising  ;  both  shining  through  the  opening  clouds,  a  clear  and  strik- 
ing image  of  the  events  represented.  The  armies  are  arranged  in 
rank  and  column,  without  the  strange  attitudes,  contrasts,  and  dis- 
tortions generally  exhibited  in  so-called  battle-pieces.  How  indeed 
would  this  have  been  possible  with  such  a  vast  multitude  of  figures  ? 
The  whole  is  in  the  plain  and  severe,  or  it  may  be,  the  stiff  manner 
of  the  old  style.  At  the  same  time,  the  character  and  execution 
of  these  little  figures  is  most  masterly  and  profound.  And  what 
variety,  what  expression  there  is,  not  merely  in  the  character  of 
the  single  warriors  and  knights,  but'  in  the  hosts  themselves  !  Here 
crowds  of  black  archers  rush  down,  troop  after  troop,  from  the 
mountain,  with  the  rage  of  a  foaming  torrent  ;  on  the  other  side, 
high  upon  the  rocks  in  the  far  distance,  a  scattered  crowd  of  flying 
men  are  turning  round  in  a  defile.  The  point  of  the  greatest  in- 
terest stands  out  brilliantly  from  the  centre  of  the  whole  ;  Alexan- 
der and  Darius,  both  in  armor  of  burnished  gold  :  Alexander,  on 
Bucephalus,  with  his  lance  in  rest,  advances  far  before  his  men,  and 


ALTDORFER.  35 

presses  on  the  flying  Darius,  whose  charioteer  has  already  fallen  on 
his  white  horses,  and  who  looks  back  upon  his  conqueror  with  all 
the  despair  of  a  vanquished  monarch."  This  picture  was  in  the 
Gall,  of  Schleissheim,  and  was  taken  to  Paris.  Napoleon  liked 
it  so  much,  that  he  had  it  at  S.  Cloud,  in  his  bath-room.  It  was 
returned  to  Bavaria  in  1815,  and  is  now  in  the  Pinacothek,  Munich, 
Cabinets,  169.  In  the  same  place,  Cabinets,  138,  is  the  "  History  of 
Susanna"  by  Altdorfer.  In  the  Augsburg  Gall,  there  is  an  altar- 
piece  with  wings  ;  very  fine.  At  Nuremburg,  there  is  in  the  Lan- 
daner  Bruderhaus,  No.  179,  a  Crucifixion,  and  in  the  chapel  of  S. 
Maurice  a  picture  by  this  master,  of  S.  Quirinus  being  drawn  from 
the  water.  In  the  Coll.  of  the  Historical  Society  at  Ratisbon, 
there  is  an  "  Adoration  of  the  Shepherds."  The  Rev.  J.  Fuller  Rus- 
sell has  a  picture  of  "  Christ  parting  from  the  Virgin,"  which  is  un- 
doubtedly by  Altdorfer,  although  it  is  sometimes  attributed  to  Durer. 
I  find  mention  of  no  other  picture  by  Altdorfer,  in  England.  His  en- 
gravings  were  not  inferior  to  his  paintings,  and  he  executed,  on 
copper  and  wood,  more  than  one  hundred  and  seventy  prints.  The 
following  is  a  list  of  a  small  portion  of  them. 

Engraved  on  Copper. 

Portrait  of  himself  —  with  his  cipher. 

Portrait  of  Luther,  with  an  oval  of  foliage. 

S.  Jerome  with  the  Lion.     One  of  the  best. 

Judith  with  the  head  <>t  Ilolofernes. 

Adam  and  Eve  in  Paradise. 

Solomon's  Idolatry. 

Samson  and  Delilah. 

Pyramus  and   Thishe. 

A  naked  Woman  with  wings,  seated  on  a  star,  with  a  torch  in  one 
hand  and  an  esciitelieon  in  the  other,  called  Lascivia. 

S.  George  and  the  Dragon. 

Mucius  Scaevola. 

Amphion  saved  from  the  Sea  by  a  Dolphin.  1825. 

The  Death  of  Lucrctia.     Etching. 

The  Virgin  and  Child,  dressed  in  the  costume  of  Ratfcbon,  with 
a  palm-tree. 

A  Man  and  Woman  dancing. 

Engraved   rm  Wood. 

Forty  cuts  of  the  Fall  and  Redemption  of  Man.     Very  fine. 
Paris  dying  on  Mt.  Ida  with  the  three  Goddesses.   1511. 
The  beautiful  Virgin  of  Ratisbon  after  the  picture  in  the  Cath. 
ic  of  his  best  works. 

S.  Christopher,  stooping  to  take  up  Jesus.  1513. 
The  Purification. 


36  ALTDORFER  —  ALUNNO. 

The  Murder  of  the  Innocents.   1511. 

The  Resurrection  of  Christ.   1512. 

The  Annunciation.   1513. 

S.  Jerome  before  a  Crucifix  in  a  Grotto. 

Abraham's  Sacrifice. 

Altham ,  flourished  about  1660.  A  German  painter  of 

marine  subjects  and  landscapes. 

Altissimo,  Cristofano  dell',  flourished  about  1568.  Pupil  of 
Bronzino.  A  good  portrait  painter.  The  Duke  Cosmo  dei  Medici 
I.,  employed  him  to  copy  the  portraits  of  illustrious  persons  in  the 
Gall,  of  Count  Giovio.  Vasari  says  he  finished  more  than  280  of  these, 
which  were  hung  around  the  Guardaroba  of  the  Duke.  Many 
more  were  finished  later,  and  they  were  placed  in  the  corridor  of 
the  Uffizi.  His  family  name  was  Papi. 

Alunno,  Niccolo,  born  at  Foligno  about  the  middle  of  the 
fifteenth  century.  He  painted  in  distemper,  but  his  colors  still 
endure.  His  principal  works  are,  the  "  Annunciation"  in  S.  Maria 
Nuova  at  Perugia,  1466  ;  a  "  Crucifixion  "  in  the  Art  Hall  at  Carls- 
ruhe,  1468  ;  an  enthroned  "Madonna"  in  the  Brera  at  Milan, 
1465  ;  portions  of  pictures  originally  at  Assisi,  which  represented  a 
"  Pietk,"  much  praised  by  Vasari  ;  portions  of  an  altar-piece  in  the 
ch.  of  S.  Niccolo,  at  Foligno,  1492  ;  a  "Madonna  "  in  the  Berlin 
Mus.,  etc.,  etc.  Numbers  of  his  works  are  dispersed  in  the  March 
of  Ancona.  Many  of  them  were  in  several  pieces,  although  that 
manner  of  painting  had  almost  passed  away  in  his  time.  Alunno 
may  be  called  the  founder  of  a  new  style  in  the  Umbrian  school. 
Hitherto  the  Art  of  those  quiet  valleys  had  expressed  the  character 
of  their  inhabitants,  and  breathed  forth  the  deep  religious  enthusi- 
asm of  a  people  li ving  in  retirement,  unfamiliar  with  classic  studies, 
and  filled  with  fervent  spiritual  longings  ;  in  short,  a  people  who 
regarded  Assisi  with  its  Basilica  as  a  holy  place,  and  the  lovely  S. 
Francis  as  the  most  perfect  earthly  model  that  could  be  represented 
in  Art,  or  imitated  in  life.  But  the  tendency  to  represent  mere 
beauty,  the  realistic  mode,  began  now  to  be  felt,  even  in  Umbrin, 
and  it  was  first  remarkable  in  the  works  of  this  painter.  The  blend- 
ing of  the  two  styles  resulted  in  that  wonderful  beauty  which  we 
find  in  the  works  of  Raphael,  where  the  richness  of  Italian  painting 
is  made  perfect  by  the  expression  of  tender  feeling,  purity  of  soul, 
and  spiritual  and  devotional  sentiment.  It  is  the  union  of  beauty 
in  form  and  expression  that  imparts  the  charm  to  the  works  of  i. 
class  of  painters,  who,  without  great  power  or  scope  of  thought, 
agreeably  portray  pure  spiritual  feeling  with  grave  and  quiet  dignity. 
To  this  class  Niccolo  Alunno  belonged,  and  his  mission  seems  to 
have  been  to  prepare  the  way  for  others  who  possessed  more  genius 
than  himself.  In  addition  to  the  works  already  mentioned  there 
are  at  Gualdo,  Duomo,  several  saints,  a  Crucifixion,  etc.  ;  a  S.  Paul 


ALUNNO  —  AMAYA.  37 

here  is  one  of  his  best  figures.  At  Nocera,  Sacristy  of  Duomo,  a 
"  Nativity  "  and  a  "  Coronation  of  the  Virgin,"  with  saints,  doctors  of 
the  church,  and  half  lengths  of  the  Apostles.  At  Aquila,  convent  of  S. 
Chiara,  a  "  Crucifixion  ' '  surrounded  by  four  scenes  from  the  life  of 
Christ.  At  La  Bastia,  in  the  ch.  of  the  place,  an  altar-piece 
dated  1499.  In  the  Bologna  Gall,  a  standard.  On  one  face  is  an 
u  Annunciation,"  on  the  other  an  enthroned  "  Madonna."  At  the 
Louvre,  Musee  Napoleon  III.  Ex.  Campana  Gall.  No.  111., a  standard; 
No.  88  the  "  Annunciation."  London,  National  Gall.  No.  24 7,  bust  of 
Christ.  No  trace  of  this  master  has  been  found  later  than  1499. 

Amalteo,  Pomponio,  born  at  S.  Vito  1505  ;  died  1588.  Son- 
in-law  of  Pordenone,  and  his  successor  in  his  school  at  Friuli.  He 
painted  historical  subjects  for  the  public  edifices  near  Friuli.  At 
Belluno  in  the  Hall  of  the  Notaries  he  painted  scenes  from  Roman 
History.  His  chefs-d'oeuvre  were  the  three  Judgments  of  Solomon, 
Daniel,  and  Trajan,  painted  in  a  Gall,  where  causes  were  decided  at 
Ceneda,  and  a  "  S.  Francis  receiving  the  Stigmata,"  in  the  ch.  of  that 
saint  at  Udine.  The  moment  chosen  was  that  of  the  sun's  rising, 
and  from  its  centre  bright  rays  fell  on  the  hands  and  feet  of  the 
saint.  He  not  only  colored  in  the  splendid  manner  of  the  Vene- 
tians, but  also  designed  with  accuracy. 

Amalteo,  Girolamo,  brother  and  pupil  of  Pomponio.  He  died 
young.  Gra/iano,  in  the  poem  of  Orlando,  calls  Mm,  "  Girolamo 
Aiiutlteo  de'  vita  w////o." 

Amato,  Gio.  Antonio  d',  called  also  II  Veccliio,  born  at  Na- 
ples 117"),  where  he  lived  until  his  death  1555.  Said  to  have 
been  a  pupil  of  Silvestro  Buono.  He  afterwards  studied  the  style 
of  Perugiuo,  and  seems  to  have  largely  educated  himself.  He 
painted  in  oil  and  fresco.  He  had  many  pupils.  His  favorite 
study  was  theology,  and  he  gave  expositions  of  the  Scriptures,  for 
which  he  was  quite  celebrated.  His  paintings  may  be  >een  in  the 
churches  of  Naples.  In  S.  Dominico  Maggiore,  there  is  a  "  Holy 
Family  "  in  the  chapel  of  the  Caraffa. 

Amato,  Gio.  Antonia  d',  born  at  Naples  (1535-1597).  A 
nephew  of  the  preceding.  In  the  ch.  of  the  Banco  de  Poveri  at 
Naples,  is  his  best  work  —  the  altar-piece,  a  representation  of  the 
infant  Christ. 

Amato,  Francesco,  an  engraver  and  painter.  His  pictures  are 
little  known,  but  his  etchings  are  spirited  and  in  the  style  of  Bis- 
caino. 

Amatrice,  Cola  dell'.  Flourished  in  1533.  Lived  at  Ascoli  del 
Piceno.  Distinguished  there  as  an  architect  and  painter.  He 
painted  a  picture  of  the  "  Saviour  dispensing  the  Eucharist  to  his 
Disciples,"  which  is  highly  extolled  in  the  Guida  di  Ascoli. 

Amaya .  Flourished  1082.  Pupil  of  Vincenzio  Carducho, 

and  painted  in  Segovia,  with  correctness  of  design,  and  good  color- 
iii-r. 


38  AMBERES  —  AMERIGHI. 

Amberes,  Francisco  de,  flourished  in  the  early  part  of  the  six- 
teenth century.  A  painter  and  sculptor.  Jn  1502  he  ornamented 
the  Cath.  of  Toledo  ;  in  1508-10  together  with  Jean  de  Bourgogne 
and  Villoldo  he  painted  the  arabesque  chapel,  which  is  still  an  inter- 
esting object. 

Amberes,  Miguel  di,  flourished  about  1640.  His  pictures  are  seen 
in  the  religious  houses  of  Spain.  He  was  originally  of  Antwerp,  and 
somewhat  resembled  Vandyck  in  his  style  of  portrait  painting. 

Amberger,  Christopher,  born  at  Nuremberg  1490(?);  died  at  Augs- 
burg, 1563  (?).  Pupil  of  the  elder  Holbein,  he  imitated  the  younger. 
He  painted  in  distemper  and  oil,  and  is  said  to  have  ornamented  the 
exteriors  of  houses  in  Augsburg  in  the  former  method.  His  pictures 
are  chiefly  small  portraits.  They  are  not  equal  to  those  of  Holbein 
in  execution,  but  have  been  mistaken  for  his.  In  1532,  when  Charles 
V.  visited  Augsburg,  Amberger  painted  his  portrait,  with  which  he 
was  so  much  pleased  that  he  paid  him  thirty-six  rix  dollars,  the  price 
being  but  twelve,  and  presented  him  with  a  medal  on  a  gold  chain. 
Charles  is  said  to  have  declared  the  picture  as  good  as  one  for  which 
he  had  paid  Titian  one  hundred  rix  dollars.  It  is  probably  now  in 
the  Berlin  Gall.  Amberger' s  best  works  are  in  the  Franciscan  ch. 
and  convent  of  S.  Martin  at  Amberg.  There  is  also  a  fine  portrait 
of  Sebastian  Miinster  at  Berlin,  and  one  of  Henry  VIII.  at  Augs- 
burg, attributed  to  Amberger. 

Ambrogi,  Domenico  degli,  middle  of  1  7th  century.  Native  of 
Bologna.  Called  Menichino  del  Brizio  from  having  studied  with 
Francesco  Brizio.  He  painted  in  oil  and  distemper.  He  excelled  in 
perspective,  landscapes,  and  architectural  views,  and  painted  also 
historical  subjects.  He  was  employed  in  many  churches  and  palaces  of 
Bologna.  In  S.  Giacomo  Maggiore  there  is  a  "  Guardian  Angel,"  and 
in  the  Nunziata  a  "  S.  Fraricis  "  by  this  artist.  He  was  the  instruc- 
tor of  Fumiani  and  Pierantonio  Cerva.  In  1653  he  published  some 
wood-cuts  from  his  own  designs,  printed  in  chiaro-scuro. 

Amelsfoort,  Quirinus  Van,  born  at  Bois-le-duc  (1760-1820).  A 
painter  of  allegories,  history,  and  portraits,  which  last  were  remark- 
able as  likenesses. 

Amerighi,  Michelangelo  da  Caravaggio  (1569-1609),  called 
Caravaggio  from  the  place  of  his  birth.  He  was  the  chief  master  of 
the  school  called  Naturalistic,  from  its  direct  representation  of  com- 
mon life.  Kugler  says  its  style  may  be  called  "  the  poetry  of  the  re- 
pulsive." When  confined  to  scenes  of  common  occurrence,  and  a 
somewhat  low  life,  these  pictures  are  often  powerful  and  have  their 
own  peculiar  charm  ;  but  when  this  style  is  used  to  depict  sacred  sub- 
jects, although,  in  a  sense,  powerful,  it  becomes  painful  and  offensive. 
Caravaggio  was  wild  in  his  nature  and  life.  He  lived  much  in  Rome, 
but  went  also  to  Naples,  Malta,  and  Sicily.  The  contrasts  of  vivid 
and  subdued  lights  ;  his  remarkably  effective  draperies,  and  his  car- 


AMEKIGHI  —  AMES. 


39 


nation  tints,  give  great  effect  to  his  pictures.  Some  of  his  sacred 
pictures  were  taken  away  from  the  altars  where  they  were  placed,  on 
account  of  their  coarseness.  One  of  his  best  works  is  the  "  Behead- 
ing of  S.  John,"  in  the  Cath.  of  Malta.  In  Rome,  there  is  at  the 
Vatican,  the  "Entombing  of  Christ;  "  this  is  his  most  celebrated 
picture.  It  is  impressive  in  its  solemnity,  but  devoid  of  sacredness  or 
sublimity.  In  S.  Luigi  de'  Francesci  there  is  a  chapel  painted  by 
Caravaggio ;  in  the  Borghese  Gall,  an  immense  "Holy  Family;'* 
in  the  Sciarra  Pal.,  the  "  Cheating  Gamester;  "  in  the  Spada  Pal., 
"  Geometry,"  as  a  ragged  girl,  playing  with  compasses  ;  and  in  the 
Gall,  of  the  Capitol,  a  "  Fortune-teller, "  which  is  a  chef-d'oeuvre. 


THE   FALSE  PLAYERS.      BY   CARAVAGGIO. 

These  last  are  such  subjects  as  he  best  represents.  In  the  Berlin 
JVlus.  is  "  Karthly  Love  "  and  a  portrait.  At  the  Louvre  is  the  por- 
trait of  ••  Yiiriiacourt,"  Grand  Master  of  Malta. 

Ames,  Joseph,  born  in  Roxbury,  New  Hampshire  (1816-1872). 
This  painter  studied  in  America  and  Italy  and  finally  settled  in  New 
York.  His  best  fancy  subjects  are  the  "  Old  Stone  Pitcher  "  and 
"Maud  Muller."  But  his  success  was  in  portraits,  of  which  he 
sometimes  executed  seventy-five  in  a  year.  Of  course  they  could  not 
be  very  carefully  finished,  but  they  were  true  to  nature  and  his  colors 
were  fresh  and  bright.  His  picture  of  "  Pope  Pius  IX."  was  much 
admired  at  Rome  ;  his  portraits  of  Webster,  Choate,  Felton,  Rachel, 


40  AMES  —  AMMAN. 

and  Gazzaniga •  are  well  known.  His  "Death  of  Webster  "has 
been  engraved. 

Amici,  Francesco.     A  modern  Italian  engraver. 

Amiconi  or  Amigoni,  Jacopo,  born  at  Venice  in  1675;  died  at 
Madrid,  1752.  After  painting  in  Venice  he  went  to  Rome  and 
thence  to  Munich,  where  he  acquired  considerable  fame.  Going 
thence  to  England  in  1729  his  pictures  were  much  in  vogue,  and  he 
was  employed  by  many  noblemen  in  the  decoration  of  staircases  and 
similar  works  in  the  style  of  Ricci.  He  returned  to  Venice  with 
£5,000.  He  was  afterwards  called  to  Spain  and  made  painter  to  the 
king,  Ferdinand  VI.  Two  large  pictures  by  him  are  in  the  vestibule 
of  the  Queen  of  Spain's  Gall.,  "  The  Finding  of  the  Cup  in  Benja- 
min's sack  "  and  "  Joseph  in  the  Palace  of  Pharaoh." 

Amiconi  or  Amigoni,  Ottavio,  born  at  Brescia  (1605-1661). 
Pupil  of  Antonio  Gandini.  He  excelled  in  frescoes  executed  after 
the  manner  of  Paul  Veronese.  The  scenes  from  the  life  of  S.  Al- 
bert, in  the  Carmelite  ch.  of  Brescia,  were  partly  his  work. 

Amidano,  Pomponeo,  born  at  Parma.  Flourished  about  1595. 
He  has  been  called  a  pupil  of  Parmigianino  ;  of  this  there  is  no  proof, 
but  he  was  a  close  imitator  of  that  master.  The  altar-piece  in  the 
ch.  of  Madonna  del  Quartiere  is  his  best  work,  and  has  been  attrib- 
uted, even  by  good  artists,  to  Parmigianino.  Orlandi  says  that  many 
of  his  pictures  were  sold  to  foreigners,  but  they  have  probably  been 
assigned  to  Parmigianino,  as  the  name  of  Amidano  is  not  found  in 
catalogues. 

Amigazzi,  Gio.  Batista,  a  scholar  of  Claudio  Ridolfi.  He  excelled 
as  a  copyist.  In  S.  Carlo  at  Verona  is  a  copy  of  a  "  Supper,"  by 
Paul  Veronese,  finely  drawn  and  of  good  color  even  now. 

Amling,  Carl  Gustavus,  born  at  Nuremberg  (1651-1710).  A 
designer  and  engraver.  The  Elector  of  Bavaria  sent  him  to  Paris  for 
instruction,  and  he  studied  with  F.  de  Poilly.  He  was  a  respectable, 
but  not  eminent  artist.  He  made  many  plates,  and  was  more  success- 
ful in  portraits  than  in  other  subjects.  He  engraved  some  for  the 
Acad.  of  Sandrart  and  also  made  prints  after  tapestry,  the  plates  of 
which  belonged  to  the  Elector  of  Bavaria. 

Amman,  Justus,  born  at  Zurich  (1539-1591).  Went  to  Nurem- 
berg in  1560,  where  he  lived  until  he  died.  One  of  the  "  little  art- 
ists," who  excelled  in  wood-cuts.  It  is  said  that  he  made  more 
than  a  thousand,  comprising  almost  every  imaginable  subject.  His 
"  Uavoirxia "  is  a  remarkable  work ;  it  contains  a  description  of  the 
artist's  time,  and  has  one  hundred  and  fifteen  wood-cuts  of  mechan- 
ics and  tradesmen  in  their  proper  costumes.  Amman  himself  is  pre- 
sented as  the  engraver.  The  cuts  from  this  book  were  used  in  that 
of  Hans  Sachs,  "  Eigentliche  Beschreibung  aller  Stiinde  auf  Erden." 
He  also  made  illustrations  of  Livy's  Roman  History.  Nearly  all 
his  cuts  were  for  books.  Amman  was  also  an  author  and  wrote  a 
book  on  "Poetry,  Painting,  and  Sculpture." 


AMMAN  —  AMSTEL.  41 

Amman,  John.     An  engraver  who  lived  at  Hanau  in  1640. 

Ammanati,  Bartolommeo,  born  at  Florence  (1511-1589?).  Stud- 
ied under  Bandinelli  at  Florence,  and  afterwards  at  Venice  with  San- 
sovino,  sculptor  and  architect.  He  was  much  employed  in  Padua,  Ur- 
bino,  Naples,  Venice,  Rome,  and  Florence.  The  principal  buildings 
upon  which  he  was  employed  as  an  architect  were  the  Pal.  of  Bena- 
vides  at  Padua,  the  Pitti  Pal.  at  Florence,  the  Pal.  Rucellai  and 
the  fa9ade  of  the  Collegio  Romano  at  Rome.  He  also  rebuilt  the 
Ponte  S.  Trinita  at  Florence  in  15G9.  This  is  his  best  work,  a 
great  ornament  to  the  city,  and  one  of  the  most  graceful  and  beauti- 
ful bridges  in  the  world.  His  most  important  work  in  sculpture  was 
the  fountain  for  the  Piazza  della  Signoria.  It  consists  flf  a  colossal 
Neptune,  in  a  car,  surrounded  by  other  figures,  and  is  open  to  much 
criticism.  He  also  erected  a  monument  for  Pope  Julius  III.  which 
may  still  be  seen  at  the  ch.  of  San  Pietro  in  Montorio.  He  married 
Laura  Battiferri  of  Urbino,  who  was  a  poetess,  and  a  member  of  the 
Society  of  the  Intronati  at  Siena.  She  was  a  lady  of  wealth,  and 
they  lived  at  the  Villa  Caserotta,  near  Florence.  His  wife  died  throe 
years  sooner  than  himself.  Ammanati  was  buried  in  the  ch.  of  S. 
Giovanni,  upon  which  he  had  lavished  both  time  and  money.  His 
biographer  says,  'l  his  friends  wept  at  his  death  for  the  loss  of  a  dear 
friend,  the  poor  for  a  constant  helper,  the  priests  for  a  zealous  pro- 
moter of  the  divine  worship,  the  art  ists  for  a  great  master,  and  all  the 
city  of  Florence  for  a  distinguished  architect. ' '  Before  his  death  he 
wrote  a  letter  to  the  Florentine  Acad.  of  Design,  regretting  that  he 
had  sculptured  undraped  figures,  and  that  their  evil  influence  must 
survive  him  ;  warns  other  artists  against  the  same  sin,  especially  that 
of  placing  inappropriate  ligmvs  in  churches. 

Ammanati  also  wrote  a  large  work  called  "La  Citta."  It  con- 
tained designs  for  all  the  edifices  necessary  to  a  city.  When  Mich- 
ael Angelo  died  he  was  one  of  the  four  chosen  to  superintend  the 
obsequies  of  the  great  master. 

Anuuoii,  Clement.  Son-in-law  of  Theodore  de  Bry,  the  en- 
graver. Aminon  added  two  volumes  to  the  Coll.  of  portraits  pub- 
lished by  De  Bry  in  six  quarto  vols.  entitled  "  Bibliotheca  Calco- 
graphica."  Those  of  Ammon  were  published  in  1650-1652.  He 
was  much  superior  to  De  Bry. 

Ammon,  Johann,  born  at  SchafHiausen.  An  engraver  of  por- 
traits. Flourished  in  1700. 

Amorosi,  Antonio,  born  at  Communanza.  Flourished  about 
1736.  He  painted  some  pictures  for  churches,  one  of  which  may  be 
seen  in  S.  Rocco  at  Rome,  but  he  excelled  in  caricatures  (bambocci- 
ule),  and  subjects  from  common  life. 

Amstel,  Cornelius  Ploos  Van,  born  at  Amsterdam,  1732.  An 
amateur  engraver  who  executed  an  interesting  set  of  plates  in  imita- 
tion of  the  best  musters. 


42  ANCHILUS  —  ANDREA. 

Anchilus,  N.,  born  at  Antwerp,  1688;  died  at  Lyons,  1733.  A 
painter  of  conversations  in  the  manner  of  Teniers.  He  went  to 
London  and  copied  the  pictures  of  Snyders  for  Sir  R.  Walpole. 

Aiicona,  Andrea  Lilio  d',  called  also  Andrea  Anconitano,  died 
1610.  This  painter  was  employed  by  Sixtus  V.  in  the  ornamenta- 
tion of  the  library  of  the  Vatican,  and  in  the  Pal.  of  S.  John  of 
Lateran.  In  the  Scala  Santa  he  painted,  in  fresco,  "  Moses  striking 
the  Rock  ;  "  in  S.  Maria  Maggiore,  "  Our  Saviour  washing  the  feet 
of  the  Disciples ;  "  and  in  the  Chiesa  Nuova,  "The  Archangel 
Michael  driving  the  Evil  Spirits  from  Heaven."  Ancona  possessed 
some  works  of  Lilio' s,  both  in  oil  and  fresco. 

Anderliifi,  Domenico,  born  at  Pesaro,  flourished  about  1720. 
A  landscape  painter  of  some  merit. 

Anderloiii,  Faustino,  born  at  Brescia.  Flourished  about  1 786- 
1794.  An  engraver.  He  illustrated  several  scientific  works  and 
made  portraits  of  Schiller,  Herder,  and  Carlo  Porta.  He  also  en- 
graved "  The  Dying  Magdalene,"  after  Correggio  ;  "  The  Repose  in 
Egypt,"  after  N.  Poussin ;  and  the  "Mater  Amabilis,"  after  Sasso 
Ferrato. 

Anderloni,  Pietro,  brother  of  Faustino,  born  1784.  He  studied 
with  P.  Palazzi  and  Faustino,  and  was  undecided  between  painting 
and  engraving,  but  after  deciding  upon  the  latter,  at  the  age  of 
twenty  he  entered  the  school  of  Longhi,  where  he  remained  nine 
years.  Under  that  master  he  became  excellent  in  his  art,  and  was 
allowed  to  put  his  name  upon  some  plates  in  acknowledgment  of  his 
share  in  their  execution.  He  went  twice  to  Rome  to  make  drawings 

O 

after  Raphael,  and  in  1831  he  succeeded  Longhi  as  superintendent  of 
the  Acad.  of  Engravers  at  Milan.  He  became  a  member  of  several 
academies  and  distinguished  in  his  art. 

Anderson, .    An  English  painter  of  small  marine  pictures. 

Aiiderton,  Henry,  flourished  about  1660,  died  1665.  After 
studying  under  Streater  he  went  to  Italy.  He  painted  some  histori- 
cal pictures,  but  principally  portraits;  one  of  the  latter  which  he 
made  of  Mrs.  Stuart  (later  Duchess  of  Richmond) ,  so  pleased  Charles 
II.  that  he  gave  Anderton  his  patronage. 

Andre,  Jean,  born  in  Paris  (1662-1753).  He  was  a  Dominican 
and  went  to  Rome,  where  he  studied  the  works  of  Michael  Angelo 
and  Raphael,  and  was  a  pupil  of  Carlo  Maratti.  He  painted  histori- 
cal subjects  and  portraits. 

Andrea,  Alessandro.  An  artist  who  flourished  about  1578,  when 
he  engraved  a  portrait  of  the  Abbe*  de  S.  Arnaud,  the  French  ambas- 
sador at  the  court  of  Constantinople. 

Andrea  da  Firenze.  This  artist  was  employed  in  painting  the 
story  of  the  Beato  Raineri,  at  the  Campo  Santo  at  Pisa,  as  is  shown 
by  his  receipt  for  payment  made  the  13th  of  October,  1377/1378 
(Pisan  style).  It  is  not  possible  exactly  to  trace  this  artist,  as  at  that 


ANDREA  —  ANGELI.  43 

time  there  were  seven  Andreas  on  the  roll  of  Florentine  artists, 
either  one  of  whom  may  have  been  the  one  employed  at  Pisa.  There 
has  also  been  a  question  as  to  whether  he  did  not  paint  the  Cap- 
pellone  dei  Spagnuoli,  which  Vasari  ascribed  to  Simone. 

Andrea  da  Firenze,  who  painted  an  altar-piece  in  a  chapel  of  S. 
Margaret  at  Cortona,  and  a  picture  of  the  "  Conversion  of  Constan- 
tine,"  flourished  in  1437. 

Andrea  del  Sarto.     See  Sarto. 

i  Andreani,  Andrea,  born  at  Mantua, 

y/""°\\  7WY  yjfnt  1540  or  1560;  died,  1623.  His  paintings 
JJ  \Y«/*  \.tlJ  i.  are  little  known,  but  he  was  a  very  cel- 
ebrated engraver.  Early  in  life  he  established  himself  in  Rome,  and 
devoted  himself  to  wood-cuts,  which  were  printed  in  chiaro-scuro. 
He  excelled  all  who  had  preceded  him.  It  is  said  that  he  procured 
the  blocks  of  other  engravers,  retouched  them  and  called  them  his 
own.  The  number  of  prints  attributed  to  him  is  very  large,  and  they 
arc  prized  by  good  judges.  From  the  similarity  of  his  monogram  to 
that  of  Albert  Altdorfer,  their  works  are  sometimes  confounded. 

Andreasi,  Ippolito,  a  native  of  Mantua.  A  pupil  of  Giulio  Ro- 
mano, whom  he  assisted  in  his  cartoons.  Andreasi  painted  pic- 
tures of  merit,  in  S.  Barbara  and  other  places. 

Andriesseii,  Jurriaan,  born  at  Amsterdam  (1742-1819).  Pupil 
of  A.  Elliger  and  J.  M.  Quinkhart.  He  excelled  in  decorative  paint- 
ing, and  the  new  theatre  at  Amsterdam  was  decorated  by  this  artist 
ami  Xmiian.  lie  had  several  pupils  who  are  distinguished. 

Andriesseii,  Antony,  born  at  Amsterdam  (1746-1813).  Painted 
landscapes  and  figures  with  his  brother,  Jurriaan. 

Andriessen  or  Adrienses,  Hendricks,  called  Mankenhein,  born 
at  Antwerp,  1600;  died  at,  Zealand.  1655.  A  painter  of  still  life. 

Andrioli,  Girolamo.  A  Veronese  painter.  His  name,  with  the 
date  1606,  is  found  on  an  altar-piece  and  other  pictures  in  the  ch.  of 
S.  Catcrina  di  Siena,  at  Verona. 

Aiidriot  or  Handeriot,  Franz  or  Frangois,  born  at  Paris  about 
1655.  An  engraver  who  worked  in  Koine  and  Paris.  He  followed 
the  style  of  Poilly,  and  although  he  did  not  equal  that  artist  his  plates 
are  pri/.ed  for  their  subjects  and  the  masters  after  whom  he  engraved. 

Aneda,  Juan  de,  born  at  Burgos,  where  he  painted,  in  1565,  sev- 
eral pictures,  which  arc  still  in  the  Cath.  He  was  associated  in  this 
work  with  Juan  de  Cea. 

Anesi,  Paolo.  A  native  of  Florence.  Several  of  his  works  are  in 
the  palaces  and  private  galleries  of  that  city  and  at  Rome.  He 
] tainted  ruins  in  the  manner  of  P.  Panini,  as  well  as  landscapes. 
Francesco  Zuccherclli  was  one  of  his  pupils. 

Angeli  or  Angelis.  There  were  many  artists  of  this  name,  but 
the  facts  recorded  of  them  scarcely  serve  to  distinguish  them  from 
each  other. 


44  ANGELI  —  ANGUIER. 

Angeli,  Giulio  Cesare,  born  about  1570  ;  died  1630.  A  pupil  of 
the  Caracci.  There  is  a  large  picture  by  him  in  the  ch.  of  S.  Agos- 
tino  at  Perugia. 

Angeli,  Giuseppe,  born  about  1615.  Pupil  of  Piazzetta.  He 
painted  some  altar-pieces,  but  principally  cabinet  pictures. 

Angeli,  Niccolo.     An  engraver  who  flourished  about  1635. 

Angelis,  Peter,  born  at  Dunkirk,  1685;  died  at  Rennes,  1734. 
He  went  to  Flanders,  and  passed  some  time  there  and  at  Dusseldorf. 
In  1712  he  went  to  England,  and  met  with  such  success  that  he  re- 
mained sixteen  years.  In  1728  he  went  to  Rome  and  remained  three 
years.  His  pictures  were  much  admired  there,  but  his  retiring  dispo- 
sition and  his  devotion  to  his  art  prevented  his  pushing  his  fortune. 
He  left  Italy  with  the  intention  of  returning  to  England,  but  stopped 
at  Rennes,  in  Bretagne,  where  he  found  so  much  employment 
that  he  spent  the  remainder  of  his  life  there.  He  painted  landscapes 
with  small  figures  and  conversations.  He  was  fond  of  introducing 
fruit  and  fish  into  his  pictures.  His  designs  are  graceful  and  natural, 
but  his  colors  sometimes  faint  and  wanting  character. 

Angelico,  Fra  Giovanni,  da  Fiesole.     See  Fiesole. 

Aiigelini,  Scipione,  born  at  Perugia  or  Ascoli  (1661-1729).  A 
very  skilful  painter  of  flowers.  Many  of  his  works  were  exported 
from  Rome,  where  he  worked,  to  France,  Holland,  and  England. 

Angelo  Pedro.  Stirling  calls  him  the  first  good  engraver  of 
Spain.  He  engraved  several  fine  portraits  for  books,  among  which 
were  those  of  Card.  Ximenes  de  Cisneros  and  Pedro  Gonzalez  de 
Mendoza,  the  great  cardinal  of  Spain. 

Angelo,  called  Angeluccio.  Flourished  about  1680.  A  promis- 
ing pupil  of  Claude  Lorraine  who  died  young. 

Angelo,  Michael.     See  Buonarotti. 

Angiers,  Paul.  An  engraver  of  whom  little  is  known.  He  re- 
sided in  London.  He  was  employed  mostly  by  booksellers,  but  his 
best  print  is  a  "  View  of  Tivoli,"  after  Moucheron,  and  there  is  one 
of  ,a  "  View  of  Roman  Ruins,"  after  Panini,  dated  1749. 

Angioletto,  of  Gubbio,  was  a  mosaist  who  flourished  about  1325. 
He  worked  at  Orvieto  and  at  Assisi,  where  he  assisted  in  the  win- 
dows of  the  lower  church. 

Anguier,  Francois,  born  at  Eu,  in  Normandy,  1604;  died  in 
Paris,  1669.  A  son  of  a  carpenter  who  early  taught  him  to  carve  in 
wood.  He  went  afterwards  to  Paris  to  study  sculpture,  and  later  to 
Rome.  He  was  one  of  the  first  artists  of  his  time  in  France,  and 
Louis  XIII.  made  him  keeper  of  the  Gall,  of  Antiquities,  and  gave 
him  apartments  in  the  Louvre.  At  one  time  he  was  employed  in 
England.  One  of  his  best  works  is  a  "  Crucifix,"  in  the  ch.  of  the 
Sorbonne.  His  sculptures  may  also  be  seen  in  the  ch.  de  L'Ora- 
toire ;  the  ch.  S.  Andre-des-Arcs ;  and  at  Moulins.  He  also  exe- 
cuted four  figures  for  the  tomb  of  the  Duke  of  Rohan,  in  the  ch.  of 
the  Celestines,  at  Paris.  His  copies  after  the  antique  were  fine. 


ANGUIER  —  ANGUISCIOLA.  45 

Anguier,  Michel,  born  at  Eu  (1612-1686).  Brother  of  the 
preceding,  with  whom  he  studied  until  they  went  to  Rome.  Michel 
became  the  pupil  of  Algardi  and  worked  with  him  at  S.  Peter's  and 
in  several  palaces.  He  remained  ten  years  in  Rome  and  was  the 
friend  of  Algardi,  Poussin,  and  Du  Quesnoy.  In  1651  he  returned 
to  Paris  and  assisted  Fra^ois  in  his  greatest  work,  the  tomb  of  the 
Duke  de  Montmorenci  at  Moulins.  He  made  a  statue  of  Louis  XIH. 
which  was  cast  in  bronze.  For  Queen  Anne  of  Austria  he  executed 
the  principal  sculptures  in  the  ch.  of  Val  de  Grace,  and  adorned  her 
own  apartments  in  the  Louvre.  His  "  Nativity  "  in  the  last  named 
ch.  is  considered  his  master-piece.  He  also  executed  sculptures  for 
the  high  altar  of  S.  Denis  de  la  Chartre  ;  bas-reliefs  for  the  Porte  S. 
Denis ;  the  monument  of  the  Duchess  de  Longueville  ;  the  brazen 
vase  in  the  garden  of  Versailles  ;  and  the  statues  of  Pluto,  Ceres, 
Neptune,  and  Amphitrite.  This  artist  was  professor  in  the  Acad.  of 
Arts  at  Paris,  and  wrote  lectures  on  Sculpture. 

Anguisciola  or  Angosciola,  Sophonisba,  born  at  Cremona,  1530 
or  1533  ;  died  about  1620.  She  was  of  a  good  family  and  one  of  six 
sisters.  She  was  first  taught  by  Bernardino  Campi,  then  Bernardo 
Gatti,  called  Sojaro.  She  came  to  be  considered  one  of  the  best  por- 
trait painters  of  her  age.  She  instructed  her  sisters  also,  four  of 
whom,  besides  herself,  were  artists.  Vasari  praises  her  picture  of 
three  of  her  sisters  playing  chess  with  an  old  woman,  and  another 
group  of  family  portraits,  in  which  her  father  is  introduced.  Her 
fame  was  so  great  that  Philip  II.  invited  her  to  Spain  as  court 
painter,  whither  she  went  in  1559.  She  was  received  with  great 
honor  and  first  painted  the  portrait  of  the  king,  with  which  he  was 
so  much  pleased,  that  he  gave  her  a  diamond  worth  fifteen  hundred 
ducats  and  a  pension  of  two  hundred  ducats.  She  then  painted  the 
Queen  Isabella,  and  a  copy  of  this  picture  was  sent  by  her  to  Pope 
Pius  IV.  with  a  letter  written  by  her,  which  Vasari  gives,  together 
with  the  pope's  reply.  She  painted  various  princes  and  persons  of 
rank,  and  the  whole  court,  in  fact,  desired  to  have  her  pictures.  She 
at  length  married  Don  Fabrizzio  di  Moncada,  a  Sicilian  nobleman, 
and  resided  at  Palermo,  while  he  lived.  The  king  allowed  her  ;i 
handsome  pension,  and  at  her  husband's  death  desired  her  to  return 
to  court,  but  she  preferred  to  visit  her  native  Italy  and  on  her  pas- 
sage to  Genoa  she  fell  in  love  with,  and  it  is  said,  offered  herself  to 
Orazio  Lomellino,  the  captain  of  the  galley  in  which  she  sailed,  and 
of  a  fine  Genoese  family.  She  continued  to  practice  her  art  in  Genoa, 
but  late  in  life  became  blind.  In  1620  Vandyck  was  often  with  her 
in  Genoa,  where  her  house  was  a  favorite  resort  of  all  artists,  and  he 
was  heard  to  say  that  he  had  been  more  enlightened  in  painting  by  a 
blind  woman  than  by  his  own  master.  When  we  consider  that  this 
master  was  Rubens,  and  Vandyck  his  favorite  pupil,  this  is  great 
Draise.  She  painted  two  portraits  of  herself  which  were  much  ad- 


46  ANGUISCIOLA  —  ANSELMI. 

mired,  and  Lanzi  says  one  of  them  was  in  the  ducal  Gall,  of  Florence, 
and  the  other  in  the  possession  of  the  Lomellini  family  at  Genoa.  At 
Althorpe,  in  Northamptonshire,  is  a  portrait  of  herself  playing  on  a 
harpsichord.  The  picture  of  her  sisters  playing  chess  was  in  the  Coll. 
of  Lucien  Bonaparte,  and  is  somewhere  in  England  ;  and  the  Earl  of 
Pembroke,  at  Wilton,  had  the  "  Marriage  of  S.  Catherine  "  by  her. 
Her  sisters  Lucia,  Europa,  and  Anna  Maria  all  painted,  but  none  of 
them  equalled  Sophonisba. 

Angus,  William.  Flourished  1786-1820.  An  English  designer 
and  engraver  of  public  buildings  and  landscapes.  He  made  plates  of 
many  gentlemen's  country  seats,  and  was  employed  on  various  topo- 
graphical works.  He  also  made  engravings  from  the  designs  of 
others. 

Anichini,  Luigi,  a  Ferrarese  engraver  praised  by  Vasari. 

Anichini,  Pietro.  An  engraver  of  whom  little  is  known.  Some 
of  his  plates  are  dated  1655. 

Anjou,  Rene  d',  King  of  the  Two  Sicilies,  Duke  of  Lorraine, 
and  Count  of  Provence,  was  a  painter.  His  life  belongs,  however, 
to  history  rather  than  art.  He  painted  his  own  portrait,  which  was 
in  the  chapel  of  the  Carmelites  at  Aix.  There  is  a  print  from  it  in 
Montfau9on.  He  painted  missals  and  miniatures  on  glass,  and  it  is 
said  that  he  also  did  a  portrait  of  Charles  VII.  of  France. 

Anna,  Baldassare  d',  Flemish  by  birth,  but  of  the  Venetian 
school,  and  a  pupil  of  Corona  of  Murano.  After  his  master's  death 
in  1605,  Anna  completed  several  of  his  works.  He  also  painted  orig- 
inal pictures  for  the  Servi,  which  surpass  those  of  Corona  in  softness 
and  the  power  of  chiaro-scuro,  but  are  inferior  in  design. 

Ansaldo,  Gio.  Andrea,  born  at  Voltre  (1584-1638).  Pupil  of 
Orazio  Cambiasi ;  he  also  studied  the  works  of  Paul  Veronese.  He 
was  an  excellent  colorist  both  in  oil  and  fresco,  especially  in  the  lat- 
ter. His  works  are  numerous  in  the  churches  and  palaces  of  Genoa ; 
his  chef-d'oeuvre  was  the  cupola  of  the  Nunziata  in  that  city. 

Ansaloni,  Vincenzio,  born  at  Bologna.  Flourished  about  1615, 
and  died  young.  A  scholar  of  Ludovico  Caracci,  he  became  a  painter 
of  some  merit.  He  left  two  altar-pieces  in  Bologna.  One  at  S. 
Stefano,  representing  the  death  of  S.  Sebastian ;  the  other  a  Ma- 
donna, in  the  ch.  of  the  Celestine  monks,  which  is  much  admired. 

Anselin,  Jean  Louis,  born  at  Paris  (1754-1823).  An  engraver. 
His  chief  works  were  from  the  pictures  of  French  masters  represent- 
ing historical  and  poetical  subjects. 

Anselmi,  Giorgio,  born  at  Verona  (1722-1797).  Pupil  of  Bales- 
tra.  Painted  the  cupola  of  S.  Andrea  at  Mantua. 

Anselmi,  Michael  Angelo,  called  Michelangelo  da  Siena,  born 
at  Lucca  and  studied  at  Siena,  but  his  family  were  of  Parma  (1491- 
1554).  Bazzi  was  his  master,  lie  became  ;i  follower  and  imitator  of 
Correggio.  When  the,  latter  painted  the  Cath.  of  Parma,  Anselmi 


ANSELMI— ANTONELLO.  47 

was  one  of  the  artists  to  whom  the  chapels  were  given.  He  painted 
much  in  Parma.  There  is  a  "  Madonna  ' '  by  him  in  the  Louvre. 
His  designs  were  weak ;  his  heads  studied,  and  his  colors  gay.  He 
died  at  Parma. 

Ansiaux,  Jean  Joseph  Eleonora  Antoine,  born  at  Liege  (1764 
-1840).  Pupil  of  Vincent.  He  painted  historical  and  poetical  sub- 
jects, and  large  numbers  of  portraits.  He  ranks  among  the  first  art- 
ists of  his  time.  There  are  three  pictures  by  him  in  the  ch.  of  S. 
Paul  at  Liege.  He  painted  portraits  of  many  eminent  statesmen  and 
generals. 

Antelami  or  Aiitelmi,  Benedetto,  born  at  Parma.  Flourished 
about  1185.  A  basso-relievo  of  the  "  Crucifixion  "  by  this  sculptor 
is  in  the  Cath.  of  Parma,  and  though  rude  when  compared  with  an- 
cient or  more  modern  sculpture,  it  is  excellent  for  its  time. 

Anthemius,  born  at  Tralles  in  Lydia.  An  eminent  architect  and 
mathematician.  In  532  he  was  employed  by  Justinian  in  the  build- 
ing of  the  ch.  of  S.  Sophia  at  Constantinople.  In  1777  a  fragment 
of  one  of  his  mathematical  works  was  published  at  Paris. 

Antiquus,  Jan,  born  at  Groningen  (1702-1750).  He  commenced 
his  artistic  career  as  a  glass  painter ;  he  next  studied  with  Jan  Abel 
Wassenberg,  after  which  he  went  to  France  and  painted  portraits. 
At  length  he  went  to  Florence,  where  he  was  six  years  in  the  service 
of  the  Grand  Duke  of  Tuscany.  After  his  return  to  Holland  he 
painted  various  large  pictures  in  the  Pal.  of  Loo,  one  of  which  was 
"Mars  disarmed  by  the  Graces."  His  design  and  color  were  good. 

Aiitoliiiez,  Don  Josef,  born  at  Seville  (1639-1676).  Pupil  of 
Don  Francesco  Rizi.  His  historical  pictures  were  admired  for  their 
fine  landscape  backgrounds.  He  was  a  man  of  haughty  temper  and 
siin-astic  humqr.  In  the  Queen  of  Spain's  Gall,  is  his  "  Mngdalene  in 
Ecstasy  upborne  by  angels."  The  design  ami  mioring  are  good,  but 
the  saint  is  too  sad  for  her  triumphant  position.  In  the  ch.  of  La 
Magdalena  at  Madrid  are  the  "  Miraculous  Conception  "  and  the 
"  Good  Shepherd,"  by  Antolinez. 

Antolinez  de  Sarabia,  Francisco,  died  1 700.  Nephew  of  Josef 
and  pupil  of  Murillo.  Although  he  made  himself  a  good  reputation 
as  an  historical  painter,  he  gave  up  the  profession  to  practice  law, 
for  which  he  had  been  educated  at  Seville.  But  not  succeeding,  he 
was  obliged  again  to  paint  as  a  means  of  living.  At  this  time  he 
made  a  series  of  small  pictures  from  the  Bible  and  the  life  of  the 
Virgin,  which  have  been  very  greatly  admired.  After  the  death  of 
his  wife  he  determined  to  be  a  priest,  but  did  not  live  long  enough  to 
take  orders.  Palomino  says,  "  in  spite  of  his  strange  temper  and 
unsettled  habits,  a  man  of  large  erudition  and  great  powers  of  mem- 
ory, and  had  an  apposite  quotation  on  his  tongue  for  every  incident 
that  could  occur." 

Autonello  da  Messina.     Soe  Messina. 


48  ANTONIO  —  APOLLODORUS. 

Antonio,  Marc.     See  Raimondi. 

Antonio,  Pedro,  born  at  Cordova  (1614-1675).  Pupil  of  Antonio 
del  Castillo.  A  good  colorist. 

Antonisze,  Cornelius,  born  at  Amsterdam  about  1500.  He  ex- 
celled in  painting  views  of  streets  and  towns.  In  the  treasury  of 
Amsterdam  is  liis  picture  of  that  city  in  1536  ;  he  also  painted  twelve 
views  of  its  public  buildings  and  engraved  them  on  as  many  blocks 
of  wood.  These  prints  are  now  rare. 

Apelles.  The  most  celebrated  Grecian  painter.  He  studied 
under  Ephorus  at  Ephesus,  under  Pamphilus  at  Amphipolis,  and 
later  in  the  school  of  Melanthius  at  Sicyon.  He  combined  the  ele- 
gance of  the  Ionic,  with  the  accurate  science  of  the  Sicyonic  school. 
The  best  part  of  his  life  was  spent  at  the  courts  of  Philip  and  Alex- 
ander the  Great,  and  he  was  the  only  master  whom  the  latter  would 
allow  to  paint  his  portrait.  His  most  famous  work  was  the  "  Venus 
Anadyomene."  This  was  painted  for  the  temple  of  Asclepius  at  Cos. 
It  was  taken  to  Rome  by  Augustus  and  placed  in  the  temple  of 
Caesar,  and  when  it  had  been  injured  no  artist  would  attempt  its  res- 
toration. He  painted  Alexander  with  a  thunderbolt  in  his  hand,  for 
the  temple  of  Artemis  at  Ephesus,  and  the  monarch  is  said  to  have 
declared  that  there  were  two  Alexanders  ;  the  son  of  Philip  who 
was  unconquerable,  and  the  work  of  Apelles,  which  was  inimitable. 
There  are  many  anecdotes  of  Apelles,  and  he  is  said  to  have  seen 
and  admitted  the  excellences  of  other  artists,  but  he  claimed  that  he 
excelled  all  in  grace.  In  order  to  test  the  accuracy  of  his  works  he 
was  accustomed  to  expose  them  in  some  public  place  and  conceal 
himself  where  he  could  hear  the  remarks  of  those  who  passed  by. 
On  one  occasion  a  cobbler  criticised  a  shoe ;  Apelles  corrected  the 
fault;  but  when  the  same  man  found  fault  with  the  leg,  the  master 
rushed  out  and  commanded  him  to  stick  to  the  shoes.  Apelles  went 
to  Rhodes,  and  to  the  studio  of  Protogenes  when  that  master  was 
absent.  A  panel  was  there  ready  for  use.  Apelles  took  a  pencil  and 
drew  a  thin  colored  line  in  such  a  way  that  when  Protogenes  saw  it 
he  knew  who  must  have  done  it ;  he  then  drew  a  thinner  line  of  a 
different  color  upon  that  of  Apelles.  When  the  latter  saw  this  he 
drew  still  another  line  which  divided  that  of  Protogenes  as  he  had 
divided  the  first.  This  panel  was  carried  to  Rome,  where  it  was  con- 
sidered the  niqst  wonderful  work  of  art  in  the  Pal.  of  the  Ca3sars. 
It  was  burned  with  that  building.  No  work  of  Apelles'  remains. 

Apollodorus.  1.  An  Athenian  painter  who  flourished  about  408 
ii.  c.  He  was  the  discoverer  of  chiaro-scuro.  Pliny  says  he  was  the 
first  artist  whose  pictures  riveted  the  eyes.  2.  A  sculptor.  He 
made  bronze  statues  and  then  destroyed  them,  because  they  did  not 
satisfy  him.  He  was  called  the  "  mad-man,"  and  was  represented  in 
that  character  by  the  sculptor  Silanion.  3.  An  architect  of  Damas- 
cus. Trajan  employed  him  to  build  the  Forum,  Odeum,  and  Gym- 


APOLLODORUS  —  APPELMAN. 


49 


nasiurn  at  Rome.     Hadrian,  who  took  offence  at  some  words  of  Apol- 
lodorus',  first  banished  him,  and  afterwards  put  him  to  death. 

Apollonio,  Agostino,  born  at  S.  Angelo  in  Vado.  Nephew  of 
Luzio  Dolci,  whom  he  assisted  in  the  latter  part  of  his  life.  Apollo- 
nio removed  to  Castel  Durante  and  worked  both  in  stucco  and  oils. 
He  was  the  heir  of  Luzio. 

Apollonio,  Jacopo,  born  at  Bassano  (1584-1654).  Grandson  of 
Jacopc  da  Ponte,  called  Bassano,  by  whom  he  was  instructed.  He 
was  the  best  imitator  of  his  master  among  all  his  disciples.  His 
finest  work  is  the  "  Martyrdom  of  S.  Sebastian  "  in  the  ch.  of  that 
saint  at  Bassano.  In  the  dome  of  Bassano  there  is  a  "  Magdalen," 
and  at  the  Riforniati  a  picture  of  "  S.  Francis,"  by  Apollonio. 

Apollonius.  1.  Born  at  Tralles  and  a  brother  of  Tauriscus.  These 
brothers  were  the  sculptors  of  the 
group  called  the  "  Farnese  Bull," 
which  represents  the  punishment 
of  Dirce.  This  group,  now  at 
Naples,  was  taken  from  Rhodes 
to  Rome  by  Asinus  Pollio ;  it  was 
found  in  the  excavation  of  the 
Baths  of  Caracalla  in  the  16th 
century,  and  placed  in  the  Far- 
nese Pal.  Battista  Bianca,  of  Mi- 
lan, undertook  its  restoration,  but 
his  work  is  very  unlike  the  orig- 
inal. It  was  originally  made  of  a 
single  block  of  marble.  It  is  be- 
lieved that  these  sculptors  lived 
in  the  first  century  of  the  Chris- 
tian era.  2.  An  Athenian  sculp- 
tor, son  of  Nestor,  and  the  author 
of  the  "  Torso  of  Hercules  "  in  the 
Belvedere,  one  of  the  most  splendid  remains  of  Grecian  art.  There 
is  also  a  statue  of  ^Esculapius  at  Rome  by  this  master.  3.  Another 
Athenian  sculptor,  son  of  Archias.  He  executed  the  bronze  head  of 
a  young  hero,  found  at  Herculaneum.  4.  A  sculptor,  whose  name  is 
on  a  beautiful  statue  of  a  young  satyr  in  the  Coll.  of  the  Earl  of  Egre- 
mont  at  Petworth,  Sussex,  England. 

Appelius,  Jean,  born  at  Middlebourg.  Flourished  about  1778. 
Painted  history,  portraits,  and  landscapes.  His  pictures  are  mostly 
large.  He  had  more  than  ordinary  talent. 

Appelman,  Bernard  or  Barent,  born  at  the  Hague  (1640-1686). 
It  is  not  known  where  he  studied,  but  the  fact  that  many  of  his  pic- 
tures are  of  Italian  scenery  indicates  that  he  visited  Italy.  The 
Prince  of  Orange  employed  him  a  long  time.  The  landscapes  which 
he  painted  in  the  Pal.  at  Soesdyk  are  good  in  style  and  color.  He 


DIRCE.    (NAPLES.) 


50  APPELMAN  —  ARALDf. 

painted  landscape  backgrounds  to  the  portraits  of  other  artists,  and 
also  painted  portraits  himself. 

Appiani,  Andrea  (1754-1818).  An  Italian,  who  painted  in  oil 
and  fresco,  in  an  original  and  graceful  style.  His  frescoes  in  the 
imperial  pal.  at  Milan  are  simple  and  grand.  The  portrait  which  he 
made  of  Napoleon,  who  had  appointed  him  his  painter,  is  in  Eng- 
land. He  was  made  a  knight  of  the  Iron  Crown  and  a  member  of 
the  Legion  of  Honor,  but  when  the  Bourbons  were  restored  his  pen- 
sion was  taken  away.  In  1813  he  had  a  stroke  of  apoplexy,  and  be- 
came so  poor  that  he  was  forced  to  sell  his  drawings,  and  everything 
of  value  that  he  possessed. 

Appiani,  Francesco,  born  at  Ancona,  1 702.  Pupil  of  Magatta. 
In  S.  Sisto  Yecchio  at  Rome,  he  painted  in  fresco,  for  Benedict  XIII., 
a  picture  of  the  "  Death  of  S.  Benedict."  The  pope  gave  him  a 
gold  medal.  He  settled  in  Perugia,  was  presented  with  the  freedom 
of  the  city,  and  labored  until  he  was  ninety  years  old  with  a  vigor 
equalled  only  by  that  of  Titian.  Perugia  is  full  of  his  pictures,  and 
there  are  many  of  them  in  England. 

Aquila,  Francesco  Faraone,  born  at  Palermo,  1676.  A  designer 
and  engraver.  A  brother  of  the  celebrated  Pietro  Aquila.  In  1 700 
he  established  himself  in  Rome.  Some  of  his  engravings  are  highly 
esteemed.  Besides  detached  pieces,  he  made  twenty-two  plates, 
called  "  Picturae  Raphaelis  Urbinatis  ex  aula  et  conclavibus  Palatii 
Vaticani,  etc.,  Franc.  Aquilo,  del.  et  incid.  1722." 

Aquila,  Giorgio,  called  Maestro  Giorgio  da  Firenzi,  flourished 
from  1314  to  1325.  Said  to  have  been  the  first  Italian  artist  who 
used  nut  oil. 

Aquila,  Fietro,  born  at  Marzalla.  The  early  part  of  his  life  was 
passed  in  a  seminary  preparing  for  the  priesthood.  He  went  to 
Rome  in  1700  with  his  brother  Francesco,  and  became  a  monk,  but 
in  his  seclusion  he  was  devoted  to  art.  He  painted  only  tolerably, 
but  excelled  as  an  engraver.  His  best  prints  are  after  the  Caracci, 
and  these  are  highly  esteemed.  The  number  of  his  works  is  very 
large,  and  some  of  them  are  after  his  own  designs.  His  drawing  i* 
correct  and  his  etching  bold  and  free.  The  "  Farnese  Gallery  "  with 
the  statues  and  ornaments,  is  one  of  his  best  works. 

Aquila,  Pompeo  dell'.  Flourished  in  the  last  part  of  the  16th 
century.  A  painter  of  history  in  oil  and  fresco.  Several  of  his 
frescoes  are  in  his  native  city,  Aquila.  At  Rome,  in  the  ch.  of  S. 
Spirito  in  Sassia,  there  is  a  fine  "  Deposition  from  the  Cross  "  by  this 
master. 

Araldi,  Alessandro,  born  at  Parma  (1465-1528).  Painted  his- 
tory. Lanzi  says,  "  was  indisputably  a  good  artist  in  the  mixed 
manner,  that  is  now  called  antico  moderno."  His  pictures  are  con- 
fined to  Parma.  He  had  little  originality.  The  following  is  a  list 
of  his  works:  Duorao,  fresco,  on  the  wall  to  the  right  as  you 


ARALDI  —  ARDELL.  51 

enter;  "  Virgin  and  Child  "  with  S.  Joseph  and  a  kneeling  man; 
Parma  Gall.,  an  "Annunciation"  on  wood,  painted  in  oil;  ch.  of 
S.  Paolo,  a  room  painted  in  various  designs  ;  ch.  of  S.  Sepolcro,  pic- 
ture of  "  S.  Ubaldus,  between  the  archangels  Michael  and  Ra- 
phael ;  "  with  an  "  Annunciation"  and  "Pieta"  in  the  pediment. 

Arbasia,  Cesare,  born  at  Saluzzo.  Flourished  1583-1614.  A 
pupil  of  Federigo  Zucchero.  Painted  in  oil  and  fresco,  but  excelled 
in  the  latter.  He  went  to  Spain  and  worked  in  Cordova  and  Ma- 
laga. In  1583  he  painted  the  "  Martyrs  "  of  the  former  city  in  the 
Cath.  For  a  picture  of  the  "Incarnation,"  in  the  Cath.  of  Malaga, 
he  received  three  thousand  ducats.  About  1588  he  went  to  Rome 
with  his  former  master.  He  was  one  of  the  founders  o£  the  Acad. 
of  S.  Luke,  of  which  Federigo  was  the  first  president. 

Arce,  Josef  de.  A  pupil  of  Martinez  Montanes.  He  executed 
eight  colossal  stone  statues,  representing  the  four  Evangelists  and 
four  doctors  of  the  Church,  which  were  placed  on  the  balustrades  of 
the  Sagrario  of  the  Cath.  of  Seville.  He  also  carved  in  wood  the 
saints  which  adorned  the  high  altar  of  the  Carthusians  at  Xeres. 

Archer,  Wykeham,  born  at  Newcastle-upon-Tyne  (1806-1864). 
He  studied  engraving  with  John  Scott  of  London.  He  made  etch- 
ings of  places  of  interest  at  Newcastle  and  Hexham.  At  Edinburgh, 
he  made  drawings  of  the  streets  and  edifices  of  the  town,  and  re- 
turned to  London  to  perfect  himself  in  etching  upon  steel.  He  was 
a  member  of  the  new  society  of  painters  in  water-colors.  Mr.  Ar- 
cher was  author  of  "Vestiges  of  Old  London,"  illustrated  by  etch- 
ings ;  and  a  contributor  to  different  journals.  He  claimed  to  have 
revived  the  practice  of  engraving  in  monumental  brass,  and  executed 
works  of  that  description.  He  also  painted  a  little  in  oil. 

Aicimboldi,  Giuseppe,  born  at  Milan,  1533;  died  at  Prague, 
1593.  He  was  court  painter  to  Maximilian  II.  and  the  Emperor 
Rodolph.  He  excelled  in  painting  interiors,  kitchens,  fruits,  vege- 
tables, utensils,  etc.  He  also  painted  capricci,  or  pictures  which 
looked  like  figures  in  the  distance,  but  fell  into  heaps  of  flowers  and 
leaves  as  one  approached  them. 

Arco,  Alonso  del,  born  at  Madrid  (1625-1700).  Called  El  Sor- 
dillo  de  Pereda,  and  a  disciple  of  Antonio  de  Pereda.  He  was  deaf 
a'id  dumb  from  his  birth.  Palomino  praises  him.  Stirling  says  his 
pictures  were  mostly  painted  for  public  occasions,  such  as  triumphal 
processions,  etc.  Many  of  his  works  were  in  the  public  buildings  of 
Madrid  and  throughout  Spain. 

Ardell,  James  Me,  born  about  1710.  A  native  of  Ireland,  or  the 
son  of  Irish  parents.  One  of  the  best  mezzotinto  engravers.  The 
number  of  his  plates  is  large.  Many  of  them  are  portraits  of  dis- 
tinguished men  of  his  time.  He  left  a  few  plates  of  historical  sub- 
ject s  after  Vandyck,  Murillo,  Rembrandt,  etc.,  some  of  which  are 
extremely  fine. 


52  ARDEMANS  —  ARETUSI. 

Ardemans,  Teodoro,  born  at  Madrid,  1664.  An  eminent  archi- 
tect, sculptor,  and  painter.  He  studied  in  the  school  of  Coello.  His 
attention  was  so  given  to  his  other  pursuits  that  his  pictures  were 
few.  That  in  the  vault  of  the  sacristy  of  S.  Francis  at  Madrid  is  a 
chef-d'oeuvre.  In  1689  he  was  master  of  works  to  the  Cath.  of  Gra- 
nada, where  he  distinguished  himself  as  a  civil  engineer.  In  1691  he 
went  to  Madrid,  and  filled  the  place  of  master  of  works  to  the  muni- 
cipality while  that  functionary  was  sick.  In  1694  he  was  appointed 
to  the  same  post  at  Toledo,  and  in  1700  at  Madrid.  In  1702  Philip 
V.  made  him  superintendent  of  works  at  the  Alcazar.  In  1 704  he 
was  made  painter-in-ordinary,  and  received  a  key  as  deputy- Aposen- 
tador.  He  made  designs  for  various  public  occasions,  funerals,  etc.  ; 
the  plans  for  the  collegiate  church  and  high  altar ;  for  a  large  part  of 
the  Pal.  and  gardens  of  S.  Ildefonso;  and  for  the  ch.  of  S.  Millan  at 
Madrid.  It  is  said  he  also  made  some  engravings.  He  wrote  and 
published  works  on  engineering  and  architecture,  and  a  eulogy  upon 
Palomino. 

Ardente,  Alessandro.  Flourished  1565-1595.  He  was  a  Pied- 
montese,  but  the  exact  place  of  his  birth  is  not  known.  Many  of  his 
works  are  at  Lucca.  At  Turin,  at  the  Monte  della  Pieta,  there  is  a 
picture  of  the  "  Conversion  of  S.  Paul,"  which  indicates  by  its  style 
that  he  studied  at  Rome.  At  the  time  of  his  death  he  was  painter 
to  the  court  of  France. 

Aregio,  Pablo  de.  Flourished  1506.  He  is  classed  among  Span- 
ish painters,  but  it  is  probable  that  he  was  an  Italian,  and  of  the 
school  of  Leonardo  da  Vinci.  He  painted,  together  with  F.  Neapoli, 
the  doors  of  the  great  altar  in  the  Cath.  of  Valencia.  Long  afterwards 
Philip  IV.  said  of  them,  "  the  altar  was  silver,  but  its  doors  were 
gold." 

Arellano,  Juan  de,  born  at  Santorcaz  (1614-1676).  A  pupil  of 
Juan  de  Solis.  He  did  not  succeed  at  first,  and  began  to  copy  the 
pictures  of  Mario  dei  Fiori.  He  studied  nature  closely,  and  at  length 
excelled  in  flowers  and  fruits.  His  pictures  are  seen  in  most  Spanish 
collections  and  are  highly  esteemed. 

Aretino,  Spinello,  born  at  Arezzo  (1328-1400).  He  painted  at 
Arezzo,  Florence,  Siena,  and  in  the  Campo  Santo  at  Pisa.  In  S. 
Angelo  at  Arezzo  he  painted  the  "  Fall  of  the  Angels,"  in  which 
Lucifer  was  so  terrible  that  the  remembrance  of  it  affected  the  mind 
of  Spinello,  haunted  his  dreams,  and,  in  truth,  hastened  his  death. 
In  general  Spinello  was  sketchy  and  unequal  in  execution,  but  showed 
great  talent  in  the  vehemence  of  his  conceptions.  He  painted  the 
history  of  S.  Benedict  in  the  Sacristy  of  S.  Miniato  at  Florence. 
These  pictures  are  well  preserved,  and  some  of  them  are  among  the 
most  spirited  conceptions  of  all  the  pictures  of  the  school  of  Giotto. 

Aretusi,  or  Munari  degli  Aretusi,  Cesare.  Called  by  some  Mo- 
denese,  because  born  at  Modena,  by  others  Bolognese,  since  he  lived 


AEETUSI  —  AKIAS.  53 

and  took  up  his  citizenship  at  Bologna  ;  died  at  Parma  about  1612. 
He  formed  his  style  after  Bagnacavallo.  He  was  the  intimate  friend 
of  Gio.  Batista  Fiorini,  and  they  painted  much  together.  Aretusi 
excelled  in  color  and  Fiorini  was  full  of  fine  conceptions.  Lanzi  be- 
lieved that  in  every  work  attributed  to  Aretusi  we  should  look  for 
assistance  from  some  other  artist.  But  he  excelled  in  portraits  with- 
out the  aid  of  any  one,  and  surpassed  in  imitation.  He  could  assume 
the  style  of  almost  any  artist  with  wonderful  exactness.  He  made  a 
copy  of  the  "  Notte  "  of  Correggio  for  the  ch.  of  S.  Gio.  di  Parma, 
which  Mengs  declared  would  be  a  good  substitute  for  the  original. 
The  excellence  of  this  performance  obtained  for  Aretusi  the  honor 
of  restoring  the  picture  which  Correggio  had  painted  for  the  tribune 
of  the  same  church,  and  this  last  work  was  so  well  done  that  many 
believed  it  to  be  the  original  of  Allegri. 

Arevalo,  Juan  Cano  de,  born  at  Valdemoro  (1656-1696).  Scholar 
of  Francisco  Camilo.  He  excelled  in  designing  small  figures,  and  at 
length  painted  most  exquisite  fans.  But  the  Spanish  ladies  thought 
the  French  fans  exceeded  all  others,  and  would  not  buy  those  made 
at  home.  Arevalo  shut  himself  up  and  finished  a  great  many  very 
beautiful  ones,  and  then  displayed  them,  pretending  that  they  were 
French.  Before  his  deceit  was  detected  his  fans  were  so  much  ad- 
mired that  he  was  appointed  dbaniquero  or  fan-painter  to  the  queen. 
He  did  some  pictures  in  distemper  in  the  ch.  of  Valdemoro.  When 
the  queen,  Maria  Louisa,  died,  he  designed  a  strange  allegorical  pic- 
ture which  represented  her  as  a  glorious  spirit  within  a  halo  of  rays, 
each  ray  containing  a  text  which  alluded  to  one  of  her  many  virtues. 
He  went  to  Alcala  to  assist  in  painting  some  altar-pieces  for  the 
Jesuit  college  and  the  ch.  of  S.  Maria.  While  there  he  died  of  a 
wound  received  in  a  duel.  His  fans  were  his  best  works,  and  so  fine 
that  they  were  preserved  in  cabinets  after  they  were  no  longer  used. 

Arfian,  Antonio  de.  Flourished  1551.  He  studied  with  Murillo 
and  L.  de  Vargas.  He  did  several  important  works,  and  together 
with  Antonio  Ruiz  painted  the  great  altar-piece  of  the  Cath.  of  Se- 
ville. This  artist  first  introduced  at  Seville  the  painting  of  landscape 
and  perspective  backgrounds  for  bas-reliefs.  He  added  to  them 
painted  figures  which  appeared  to  be  carved  like  the  rest.  He  also 
introduced  improvements  in  the  coloring  of  draperies  on  statues. 

Arias,  Fernandez  Antonio,  born  at  Madrid;  died  1680  or  1684. 
Studied  with  Pedro  de  las  Cuevas.  When  but  fourteen  he  painted 
the  large  altar-piece  of  the  Carmelites  at  Toledo.  This  was  much 
admired,  and  he  was  incited  to  greater  application  to  his  studies  by 
the  praises  he  received.  At  twenty-five  he  was  one  of  the  best 
painters  at  Madrid.  The  Duke  d'Olivarez  employed  him  to  paint 
the  portraits  of  the  kings  of  Spain.  After  all  his  success,  and  his 
favors  at  court,  he  died  in  a  hospital,  although  his  life  had  been  be- 
yond reproach.  His  daughter,  who  survived  him,  was  a  painter  of 


54  ARIAS  —  ARTEAGA. 

some  merit.  In  the  Queen  of  Spain's  Gall,  there  is  a  picture  by 
Arias  of  "  The  Pharisees  asking  Christ  concerning  the  Tribute 
Money." 

Aristeides.  1.  Lived  about  360  B.  c.  One  of  the  most  celebrated 
Greek  painters.  A  native  of  Thebes,  son  of  Aristodemus,  and  pupil 
of  Euxenidas  and  Nicomachus.  He  excelled  in  depicting  the  passions 
and  feelings  which  are  observed  in  common  life.  It  is  said  that  the 
first  foreign  painting  ever  displayed  in  Rome  was  by  this  artist,  and 
represented  "  Bacchus."  It  was  brought  to  Rome  byMummius,  and 
placed  in  the  temple  of  Ceres.  2.  A  sculptor  celebrated  for  his 
statues  of  two  and  four-horsed  chariots. 

Arlaud,  James  Anthony,  born  at  Geneva  (1668-1743).  He  first 
painted  small  miniatures  for  the  jewellers,  but  at  length  did  some 
portraits,  which  were  so  successful  as  to  induce  him  to  go  to  Paris. 
Here  he  was  patronized  by  the  Duke  of  Orleans,  who  gave  him 
apartments  at  St.  Cloud,  and  took  lessons  in  painting  from  him.  He 
devoted  himself  to  his  profession,  in  order  to  merit  his  good  fortune, 
and  became  a  favorite  of  the  Princess  Palatine.  She  gave  him  her 
portrait  set  with  diamonds,  and  when  he  would  go  to  England,  she 
gave  him  a  letter  recommending  him  to  the  Princess  of  Wales, 
afterwards  Queen  Catherine.  Arlaud  painted  her  portrait,  and  was 
patronized  by  many  of  the  nobility.  He  returned  to  Paris,  and  a 
few  years  after,  having  acquired  an  ample  fortune,  he  settled  in  his 
native  city,  in  which  he  remained  until  his  death. 

Armanno,  Vincenzio  (1598-1649).  A  Fleming  by  birth.  He 
painted  landscapes  and  lived  at  Rome.  His  pictures  are  praised  for 
their  truthfulness,  color,  and  shading.  His  figures  are  good  and  his 
invention  copious.  It  is  said  that  he  was  imprisoned  in  Rome  for 
eating  meat  on  fast  days,  and  that  on  his  liberation  he  left  the  city  in 
disgust  and  went  to  Venice,  where  he  died. 

Arnolfo,  erroneously  called  di  Lapo,  was  the  son  of  Cambio  of 
Colle  de  Val  d'Elsa  (1232-1310).  A  disciple  of  Niccola,  under 
whom  he  worked  at  Sienna.  When  he  died  he  held  the  office  of 
chief  architect  and  sculptor  of  S.  Reparata  at  Florence.  Many  archi- 
tectural monuments  were  assigned  to  him,  but  most  of  them  have 
perished.  The  tomb  of  Card,  de  Braye,  in  S.  Domenico  at  Orvieto, 
was  executed  by  him  in  1280.  This  is  a  mixture  of  mosaic,  sculp- 
ture, and  architecture,  and  affords  but  small  opportunity  for  judging 
of  his  merits. 

Arpino,  il  Cavaliere  d'.     See  Cesari. 

Arredondo,  Don  Isidoro,  born  at  Colemar  de  Oreja  (1653-1702). 
A  pupil  of  Josef  Garcia,  and  later  of  Francesco  Rizi.  He  painted 
history  with  great  success,  and  at  the  death  of  Rizi  was  appointed 
court  painter  by  Charles  II.  Palomino  mentions  a  large  and  very 
grand  picture  of  the  "  Incarnation  "  by  Arredondo. 

Arteaga   y   Alfaro,  Matias,  born  at  Seville;  died,  1794.     Pupil 


AKTEAGA  —  ASPERTINI.  55 

of  Juan  de  Valdes.  An  eminent  painter  and  engraver.  He  painted 
many  perspective  views,  into  which  he  introduced  the  stories  illustra- 
tive of  the  legends  of  the  Virgin.  He  was  secretary  of  the  Acad. 
of  Seville,  at  the  time  of  his  death. 

Artois,  Jacob  van,  born  at  Brussels  (1613-1665).  Probably 
studied  with  Lodewyck  de  Vadder.  Many  of  his  pictures  are  very 
large.  He  painted  only  landscapes,  and  the  figures  in  his  pictures 
were  done  by  Teniers,  Van  Herp,  Gerard  Zegers,  and  Gaspard  de 
Craeyer.  They  sometimes  represented  Scripture  stories,  and  are  seen 
in  the  churches  of  Belgium.  The  pictures  of  Artois  faithfully  rep- 
resent the  scenery  of  his  native  country.  His  pencil  was  light  and 
free;  some  of  his  works  are  grandly  poetic,  and  his  foliage  so  per- 
fect that  it  seems  to  be  in  motion.  His  coloring  is  not  of  the  best. 
His  pictures  are  numerous,  and  very  unequal  in  merit  and  value. 
The  Dresden  Gall,  has  a  fine  small  picture  by  this  master,  No.  956. 
The  Gall,  at  Brussels  has  four;  Nos.  37,  1,  and  4  are  the  best.  The 
figures  in  the  first  are  by  Van  Herp.  In  No.  4,  they  are  by  Gaspard 
de  Craeyer  and  Peter  Snayers,  and  represent  "  S.  Hubert  adoring 
the  Crucifix."  In  the  Vienna  Gall,  are  two  large  pictures  with  fig- 
ures by  Gerard  Zegers.  In  private  galleries  in  England  there  are 
good  pictures  by  Artois. 

Asper,  Hans,  born  at  Zurich  (1499-1571).  He  painted  portraits 
in  the  style  of  Holbein,  and  gained  a  reputation  which  has  been  in- 
jured by  his  pictures  being  sold  for  those  of  Holbein.  The  portraits 
of  Zuinglius  and  his  wife,  in  the  library  at  Zurich,  are  by  Asper. 
His  drawings  of  game,  flowers,  and  birds,  were  much  esteemed.  A 
medal  was  given  him  to  record  his  merit,  and  yet  he  lived  and  died 
in  poverty. 

Aspertini,  Amico,  born  at  Bologna  (1475-1532).  Scholar  of 
Francis  Francia.  Very  peculiar  in  character  all  his  life,  and  insane 
before  his  death,  according  to  Vasari,  who  says  that  he  studied  art 
by  going  through  all  Italy  and  making  copies  of  all  that  pleased  him. 
He  could  paint  with  both  hands  at  the  same  time,  and  was  called 
Amico  da  due  Penelli.  His  earliest  works  are  in  S.  Cecilia  at  Bo- 
logna, and  are  much  injured.  At  S.  Frediano  in  Lucca,  there  are 
nine  pictures  by  this  master,  in  the  chapel  of  S.  Agostino.  They 
are  much  injured.  His  other  works  are,  Berlin  Mus.,  No.  119, 
"Nativity;"  Bologna  Gall.,  No.  297,  "Virgin  and  Child,"  with 
several  saints  and  the  portraits  of  two  patrons  ;  Madrid  Mus.,  No. 
885,  "  Rape  of  the  Sabines  ;"  Bologna,  ch.  of  S.  Martino  Maggiore, 
"  Virgin  and  Child  "  with  saints,  among  which  is  S.  Nicholas  giv- 
ing their  dowry  to  three  young  girls.  At  Ferrara,  in  the  Strozzi 
Pal.,  a  "  Predella  "  with  four  scenes  from  the  life  of  Mary. 

Aspertiiii,  Guido,  born  at  Bologna,  about  1460.  Scholar  of  Er- 
rolc  <li  Ferrara.  Died  young.  His  principal  work  was  an  "  Adora- 
tion of  the  Magi,"  now  in  the  Gall,  of  Bologna  (No.  9).  It  is  some- 
what fantastic,  but  a  pleasing  picture. 


56  ASSCHE  — ATHANASIO. 

Assche,  Henri  van,  born  at  Brussels  (1775-1841).  Studied 
first  with  his  father,  and  then  with  De  Roi  of  Brussels.  His  pictures, 
which  are  landscapes,  may  be  seen  at  Ghent,  Lille,  Haerlem,  and 
Brussels.  In  some  there  are  figures  and  animals  by  Ommeganck. 

Asselyn,  Jan,  born  at  Diessen,  near 
Amsterdam.  Scholar  of  Esaias  van  de 
Velde,  and  Jan  Miel.  He  went  to  Italy 
in  1630,  and  remained  fifteen  years.  He  painted  landscapes  which 
are  remarkable  for  tender  coloring,  good  drawing,  and  poetic  concep- 
tion. His  works  are  highly  esteemed.  In  the  Louvre  there  are  four. 
In  the  Van  der  Hoop  Coll.  at  Amsterdam,  a  fine  one,  with  a  massive 
ruin  in  the  foreground  and  blue  mountains  in  the  distance.  In  the 
Munich  Gall.  Cabinets,  No.  445  has  a  fine  effect  of  chiaro-scuro. 
It  represents  a  ruined  castle  on  a  rock.  In  the  Coll.  of  T.  Baring, 
Esq.,  England,  a  picture  of  a  Woman  and  Cattle  reflected  in  the 
water,  at  the  entrance  of  a  cave,  is  one  of  the  best  works  of  Asselyn. 
Assen,  Jan  Walther  van.  Said  to  have 
keen  born  in  Holland,  about  1490.  One  of  the 
earliest  engravers  on  wood.  His  cuts  are  highly 
prized  by  collectors.  A  contemporary  of  Lu- 
cas von  Leyden,  he  seems  to  have  had  the  same  rank  in  wood  en- 
graving that  Lucas  held  in  engraving  on  copper.  Little  is  known  of 
his  life.  He  was  living  in  Amsterdam  in  1517.  His  works  are  as 
follows :  — 

A  set  of  six  prints,  circular,  representing  the  Passion  of  Christ, 
marked  with  his  cipher,  and  dated  1513  and  1514. 

A  set  of  six  large  prints  of  different  subjects  in  architectural  com- 
partments. In  the  middle  of  each  the  words :  1 .  Superbia ;  2.  Lux- 
uria ;  3.  Invidia ;  4.  Ira;  5.  Gula ;  6.  Avaricia ;  and  their  opposite 
virtues. 

A  small  print  of  an  armed  Figure  on  Horseback ;  inscribed  St. 
Hadrianus  Amstelodamus  in  jEdibus  Donardi  Petri,  etc. 

Asserreto,  Giovacchino,  born  at  Genoa  (1600-1649)  Studied 
under  Borzone  and  Ansaldo.  When  but  sixteen  he  painted  a 
"Temptation  of  S.  Anthony."  There  are  altar-pieces  painted  by 
Asserreto  in  several  convents  and  churches  at  Genoa. 

Asta,  Andrea  dell',  born  at  Naples  (1673-1721).  Scholar  of 
Francesco  Solimene.  He  went  to  Rome,  where  he  studied  the  works 
of  Raphael.  His  best  pictures  are  the  "  Nativity,"  and  the  "  Ado- 
ration of  the  Magi,"  painted,  after  his  return  to  Naples,  for  the  ch. 
of  S.  Agostino. 

Astley,  John,  born  at  Wemm,  Shropshire,  England.  A  portrait 
painter,  who  studied  under  Hudson.  He  visited  Italy.  His  portraits 
were  fine,  and  he  was  rapidly  acquiring  great  reputation,  when  a 
wealthy  lady,  whose  portrait  he  had  painted,  offered  him  her  hand. 
After  his  marriage  he  relinquished  his  profession.  Died  1787. 
Athaiiasio,  Don  Pedro.  See  Boccanegra. 


ATHENODOKUS  —  AUBIN.  57 

Athenodorus.     See  Agesander. 

Attavante  or  Vante.  Living  in  1487.  This  artist  was  a  celebrated 
illuminator  of  MSS.  Lanzi  says,  the  excellence  of  this  artist  ought 
to  confer  on  him  "  greater  celebrity  than  he  enjoys."  He  orna- 
mented many  books  for  Matthias  Corvinus,  king  of  Hungary.  These 
afterwards  remained  in  the  Medicean  and  Esteusean  libraries.  A 
magnificent  Missal  which  Attavante  illuminated  for  Matthias  is  now 
in  the  Library  at  Brussels.  It  was  probably  brought  to  Brussels  by 
Maria,  sister  of  Charles  V.,  and  wife  of  Ludwig  II.  of  Hungary. 
After  the  death  of  her  husband  she  obtained  the  government  of  the 
Netherlands.  The  regents  of  Belgium  formerly  took  their  oaths 
upon  this  volume.  The  first  to  do  so  were  Archduke  Albert  and 
Isabella,  in  1599 ;  the  last  was  the  Prince  of  Saxen-Teschen,  in  the 
name  of  Joseph  II.,  in  1781. 

Attiret,  Jean  Denis,  called  Frere  Attiret,  born  at  Dole,  1702; 
died  at  Pekin,  1768.  After  studying  at  Rome,  and  distinguishing 
himself  by  his  pictures  at  Lyons,  he  became  a  Jesuit  at  Avignon. 
About  this  time  the  Jesuit  missionary  at  Pekin  sent  to  France  for  a 
painter.  Attiret  was  chosen  to  make  this  journey,  and  left  France 
in  1737.  A  picture  which  he  presented  the  emperor,  soon  after  his 
arrival,  so  pleased  his  majesty,  that  he  wished  to  employ  Attiret  con- 
tinually. He  wished  him  to  work  in  water-colors,  for  he  did  not  like 
the  gloss  of  oil.  His  commissions  were  so  nrjnerous  that  he  was 
obliged  to  employ  Chinese  assistants,  who  had  at  first  been  jealous  of 
him,  but  at  length  became  reconciled  to  his  supremacy.  He  became 
a  great  favorite,  even  among  the  painters,  and  was  able  to  establish 
a  drawing-school.  About  1 760  the  emperor  obtained  victories  over 
Tartar  tribes  with  whom  he  was  at  war.  Attiret  was  ordered  to  pro- 
ceed to  the  northwest  part  of  the  empire,  where  he  made  accurate 
sketches  of  triumphal  processions,  festivals,  etc.  From  these  he 
painted  pictures  which  so  pleased  the  emperor  that  he  desired  to 
make  him  a  mandarin,  which  honor  Attiret  declined.  All  the  princi- 
pal men  of  the  empire  sat  to  him  for  their  portraits  —  some  of  them 
travelling  eight  hundred  leagues  for  the  purpose.  Sixteen  of  these 
portraits  were  sent  to  Paris  to  be  engraved  at  the  expense  of  the  em- 
peror. Very  few  impressions  of  these  plates  were  reserved  in  France, 
and  they  are  extremely  rare.  They  were  of  immense  size.  When 
the  artist  died  the  emperor  ordered  two  hundred  ounces  of  silver  to 
be  given  towards  the  expense  of  his  funeral. 

Aubert,  Augustine,  born  at  Marseilles,  1781.  Painted  history  and 
landscapes.  The  latter  are  principally  from  scenery  about  Marseilles, 
and  the  former  represent  sacred  subjects,  and  are  often  very  large. 

Aubert,  Michel,  born  at  Paris  (1700-1757).  An  engraver  of  por- 
traits and  historical  subjects.  He  seems  to  have  imitated  Gerard 
Audran,  but  with  small  success. 

Aubin,  Augustine  de  St.,  born  at  Paris  (1736-1807).     A  skilful 


58  AUBIN  —  AUDRAN. 

engraver.     He  engraved  the  works  of  several  French  and  Italian 
masters. 

Aubin,  Augustine  de  St.,  born  at  Paris,  1 720.  An  engraver  of 
merit.  Scholar  of  Laurent  Cars.  He  engraved  the  coll.  of  nearly 
three  thousand  medals  belonging  to  M.  Pellerin,  and  the  gems  of  the 
Duke  of  Orleans,  besides  an  immense  number  of  portraits,  historical 
subjects,  vignettes,  ornaments  for  books,  etc. 

Aubin,  Charles  Germain  de  St.,  born  at  Paris,  1 721.  Brother  of 
the  preceding,  and  an  engraver. 

Aubin,  Gabriel  Jaques  de  St.,  born  at  Paris,  1724.  Brother  of 
the  preceding.  He  painted  historical  subjects,  and  also  engraved  a 
few  plates  from  his  own  designs. 

Aubriet,  Claude,  born  at  Chalons-sur-Marne  (1651-1743).  A 
pupil  of  Joubert.  He  distinguished  himself  first  as  a  miniature 
painter.  He  was  appointed  to  make  drawings  of  objects  of  natural 
history  at  the  Jardin  des  Plantes.  He  accompanied  Tournefort  to 
the  Levant,  and  the  plates  which  afterwards  illustrated  the  ' '  Ele- 
ments de  Botanique  "  were  after  the  designs  of  Aubriet.  At  the 
death  of  Joubert  he  was  appointed  painter  to  the  king  in  the  Jardin 
des  Plantes,  and  many  of  his  drawings  are  now  in  the  library  of  the 
Jardin.  There  are  also  five  folio  volumes  of  his  designs  in  the  Royal 
Library  at  Paris.  He  was  a  botanist,  and  the  plates  in  ' '  Tourne- 
f ort's  Voyage  to  the  Levant ' '  were  after  his  designs. 

Audenaerde  or  Oudenaerde, 
Robert  van,  born  at  Ghent 
(1663-1743).  A  good  painter, 
and  celebrated  engraver.  A  scholar  of  Francis  van  Mierhop  and 
John  van  Cleef.  At  twenty-two  years  of  age  he  went  to  Rome, 
and  there  studied  under  Carlo  Maratti.  He  became  a  reputable 
painter  of  historical  pictures.  In  leisure  moments  he  amused  himself 
by  making  plates,  and  when  these  were  seen  by  Maratti  he  advised 
his  pupil  to  devote  himself  to  engraving.  The  plates  in  which  he 
used  the  point  are  much  finer  than  those  done  entirely  with  the 
graver.  The  principal  part  of  his  prints  were  after  the  pictures  of 
his  Italian  master.  His  drawing  is  very  correct  and  shows  perfect 
knowledge  of  the  human  figure.  His  paintings  are  quite  in  the  style 
of  Maratti.  His  chef-d'oeuvre  is  the  altar-piece  in  the  ch.  of  the 
Carthusians  at  Ghent.  It  represents  the  appearance  of  S.  Peter  to  a 
number  of  monks.  In  the  ch.  of  S.  James  is  his  picture  of  "  S.  Cath- 
erine refusing  to  worship  the  False  Gods."  Other  churches  and 
convents  of  his  native  city  possess  works  of  this  artist. 

Audouin,  Pierre,  born  at  Paris  (1768-1822).  An  eminent  en- 
graver and  a  pupil  of  Beauvarlet.  He  engraved  several  of  the  finest 
paintings  of  the  Italian  and  Dutch  masters  for  the  coll.  of  the  Mus. 
published  by  Laurent. 

Audran,  Benoit,  born  at  Lyons  (1661-1721).     Son  of  Germain 


lin 


AUDKAN.  59 

Audran,  with  whom  he  first  studied,  but  later  he  became  the  pupil 
of  the  celebrated  Gerard,  his  uncle.  Although  he  did  not  equal  the 
latter,  he  was  an  excellent  artist.  He  was  a  member  of  the  Acad. 
and  engraver  to  the  king.  He  engraved  many  portraits  and  his- 
torical subjects.  His  style  was,  like  his  uncle's,  clear  and  bold,  his 
drawing  correct,  and  his  heads  full  of  expression. 

Audran,  Charles,  born  at  Paris  (1594-1674).  This  name  was 
eminent  among  French  engravers  for  more  than  a  century.  Charles 
was  the  first  to  make  it  so.  His  disposition  for  the  art  was  shown  very 
early,  and  he  was  still  quite  young  when  his  plates  attracted  atten- 
tion in  Rome,  where  he  had  gone  to  study.  He  imitated  the  style 
of  Cornelius  Bloemaert,  and  used  only  the  graver.  His  works  were 
finished  with  great  care.  His  earlier  plates  were  marked  with  a 
C.,  but  when  his  brother  Claude  used  the  same  letter,  he  changed  to 
K.,  the  initial  of  Karl. 

Audran,  Claude,  born  at  Lyons  (1639-1684).  After  studying 
drawing  at  Paris  under  his  uncle,  he  went  to  Rome.  He  drew  well 
and  had  great  facility  in  execution.  He  returned  to  Paris,  and  was 
engaged  as  an  assistant  by  Le  Brun.  Under  the  direction  of  the 
latter  he  painted  the  grand  staircase  at  Versailles,  the  Gall,  of  the 
Tuileries,  and  the  Chapel  of  Colbert's  Chateau  de  Sceaux,  all  in 
tn  sco.  He  became  an  imitator  of  Le  Brun,  whom  he  also  assisted 
in  his  "  Battles  of  Alexander,"  and  many  other  works. 

Audran,  Gerard,  born  at  Lyons  (1640-1703).  Son  of  Claude  and 
nephew  of  Charles.  This  artist  may  be  said  to  have  reached  perfec- 
tion in  engraving.  He  studied  first  with  his  father,  then  with  his 
uncle,  and  finally  at  Rome,  it  is  believed  under  Maratti.  He  was  in 
Rome  three  years,  and  made  a  portrait  of  Clement  IX.  and  other 
plates,  which  gave  him  such  a  reputation  that  he  was  recalled  to 
Paris  by  Colbert.  He  was  soon  appointed  engraver  to  the  king,  with 
a  generous  pension  and  apartments  at  the  Gobelins.  He  became  in- 
timatc  with  Le  Brun,  and  some  of  his  finest  plates  are  after  the 
paintings  of  that  master.  The  "  Battles  of  Alexander"  cannot  be 
too  highly  praised.  His  plates  were  very  numerous. 

Audran,  Germain,  born  at  Lyons  (1631-1710).  Nephew  of 
Charles  and  Claude,  and  inferior  to  some  members  of  his  family  in 
artistic  merit.  He  engraved  portraits,  ceilings,  ornaments,  vases,  etc. 

Audran,  John,  born  at  Lyons  (1667-1756).  Son  of  Germain,  and 
brother  of  Benoit.  After  studying  with  his  father,  he  too  was  placed 
under  the  famous  Gerard,  and  became  a  celebrated  artist.  He  was 
made  engraver  to  the  king,  and  had  a  pension  and  apartments  at  the 
Gobelins,  in  1707.  His  prints  arc  numerous,  and  he  continued  to 
labor  after  he  was  eighty  years  old. 

Audran,  Louis,  born  at  Lyons  (1670-1712).  Youngest  son  of 
Germain.  He  also  studied  under  Gerard.  He  assisted  his  brothers 
in  their  plates,  and  did  not  execute  many  of  his  own.  He  also  en- 
graved copies  of  the  large  historical  plates  of  his  relatives. 


60  AUDUBON  —  AVELINE. 

Audubon,  John  James,  born  in  Louisiana  (1782-1851).  As  an 
artist,  distinguished  for  his  drawings  of  the  "Birds  of  America." 
He  studied  painting  in  Paris  under  the  celebrated  David.  His  plates 
are  very  perfect,  of  the  size  and  color  of  life,  and  the  beaks,  talons, 
and  legs  are  of  accurate  dimensions.  The  book  was  thirteen  years 
in  preparation  and  was  published  in  Edinburgh;  this  time  does  not 
include  the  making  of  a  large  portion  of  Audubon' s  pictures.  It  has 
435  plates,  containing  1,065  figures.  Cuvier  pronounced  it  "  the 
most  gigantic  and  most  magnificent  monument  that  had  ever  been 
erected  to  Nature."  Audubon  was  also  the  author  of  "  Ornitholog- 
ical Biography,"  and  at  the  time  of  his  death  was  at  work  upon  the 
"  Quadrupeds  of  America." 

Augur,  Hezekiah,  son  of  a  carpenter,  born  in  New  Hampshire 
(1791-1858).  He  was  first  a  shoemaker's  apprentice,  then  a  trades- 
man in  New  Haven,  where  he  failed.  He  partly  paid  his  debts  by 
carving  ornamental  furniture,  and  invented  a  machine  for  weaving 
worsted  lace.  Gradually  he  turned  his  attention  to  sculpture.  He 
copied  a  "Head  of  Apollo,"  and  in  1827  executed  a  "Washing- 
ton "  and  a  "  Sappho,"  which  established  his  local  fame.  His  best 
work  was  the  group  of  "  Jephtha  and  his  Daughter,"  still  preserved 
in  Yale  College  Gall.  This  obtained  for  him  several  commissions  for 
busts  and  monuments. 

Austin,  William,  born  in  London  about  1740.  An  engraver  and 
a  pupil  of  George  Bickhani.  He  engraved  some  landscapes  after 
Ruysdael  and  other  artists,  but  his  principal  work  was  a  set  of 
plates,  of  views  of  Palmyra  and  its  Ruins,  and  of  Ancient  Rome. 

Auzon,  Madame,  born  in  Paris,  1775.  She  studied  under  Reg- 
nault.  Painted  portraits  and  familiar  subjects.  Several  of  her  pic- 
tures have  been  engraved. 

Avanzii  or  Avanzi,  Jacopo  degli.  An  ancient  painter  of  Bo- 
logna, of  whom  little  is  known.  He  flourished  about  the  middle  of 
the  14th  century.  In  the  Colonna  Gall,  at  Rome,  there  is  a  "  Cruci- 
fixion "  by  this  master,  and  Nos.  159,  160,  161,  of  the  Bologna 
Acad.  are  also  his.  In  the  ch.  of  Mezzarata  he  painted  pictures 
which  Malvasia  asserts  were  praised  by  Michael  Angelo  and  the  Ca- 
racci.  These  have  been  whitewashed,  and  restored,  and  are  very 
imperfect. 

Avanzi,  Giuseppe,  born  at  Ferrara  (1655-1718).  School  of  Co- 
stanzio  Cattanio.  He  is  noted  for  the  numbers  of  his  works,  rather 
than  for  excellence.  Most  of  them  were  for  the  convents  and 
churches  of  his  native  city. 

Aved,  Jacques  Antoine  Joseph,  born  at  Douay  (1702-1766). 
Pupil  of  Picard  and  a  portrait  painter  of  merit. 

Aveline,  Anthony,  born  at  Paris,  1662.  Designer  and  engraver. 
His  principal  works  were  views  of  the  palaces  and  chateaux  of  Eu- 
rope. 


AVELINE  —  AZZOLINI.  61 

Aveline,  Pierre,  born  at  Paris,  1710.  Designer  and  engraver. 
Scholar  of  John  Baptist  Poilly.  His  subjects  were  often  trifling  and 
insignificant,  his  drawing  stiff',  though  not  incorrect. 

Aveline,  Francis  Anthony,  born  at  Paris,  1718.  Cousin  of  the 
preceding.  An  engraver  of  small  reputation,  and  worked  mostly  for 
booksellers. 

Avellino,  Giulio,  called  H  Messinese,  born  at  Messina  (1645- 
1700).  A  landscape  painter,  said  to  have  studied  with  Salvator 
Rosa.  He  settled  at  Ferrara,  and  was  much  employed  by  the  nobil- 
ity of  Ferrara  and  Cremona.  He  painted  in  the  grand  style  of  Rosa, 
and  introduced  ruins,  architecture,  and  figures  into  his  pictures.  His 
pictures  are  valued,  and  are  in  many  collections. 

Avelliiio,  Onofrio,  born  at  Naples  (1674-1741).  Said  to  have 
been  a  pupil  of  Francesco  Solimene.  In  Rome  he  painted  an  altar- 
piece  in  the  ch.  of  S.  Maria  di  Montesanto,  and  the  vault  of  the  ch. 
of  S.  Francesco  di  Paola,  which  last  is  considered  his  best  work. 

Avibus,  Gaspar  Ab  or  Patavinus,  born  at  Padua,  1530.  An 
engraver  whose  principal  work  was  a  large  volume  containing  the 
portraits  of  the  Royal  House  of  Austria,  full-lengths,  signed  Gaspar 
Patavinus,  incisor.  1569. 

Avogadro,  Pietro,  called  Bresciano,  born  at  Brescia.  Flourished 
about  1730.  A  scholar  of  Poinpeo  Ghiti.  His  coloring  was  Venetian, 
especially  in  the  carnations.  The  whole  style  of  his  composition  and 
painting  is  pleasing.  By  some  he  is  said  to  rank  as  the  fourth  among 
the  artists  of  Brescia,  that  is,  after  Bonvicino,  Gambara,  and  Savoldo. 
His  "  Martyrdom  of  SS.  Crispino  and  Crispiano,"  is  his  principal 
work,  and  is  in  the  ch.  of  S.  Joseph  at  Brescia. 

Avont,  Peter  van   der,  born   at  Antwerp 
A-  "W  \\      about  1619      A  fine  landscape  painter,  and  an 
eminent  engraver.     He  often  painted  figures  in 
the  landscapes  of  Vinckenboom. 

Avril,  Jean  Jacques,  born  at  Paris  (1744-1832).  An  engraver 
whose  works  are  much  admired.  Scholar  of  J.  G.  Wille.  He  left 
about  540  plates,  some  of  them  large. 

Avril,  Jean  Jacques,  born  at  Paris  (1771-1831).  Son  of  the  pre- 
ceding. One  of  the  engravers  employed  by  Laurent.  His  plates  of 
many  of  the  pictures  and  statues  of  the  Louvre  are  excellent. 

Axtmann,  Leopold,  born  at  Fulneck  ;  died  at  Prague  (1700- 
1748).  An  animal  painter.  He  rivalled  his  master,  John  George 
Hamilton,  in  reputation.  His  pictures  are  in  Bohemia.  He  painted 
dogs  and  horses  excellently. 

Ayala,  Barnabi  de.  Painter  of  history  at  Seville.  Scholar  of 
Zurbaran.  He  so  well  imitated  his  master  that  it  is  believed  that 
the  pictures  of  Ayala  are  sold  as  those  of  Zurbaran.  He  was  one  of 
tibe  founders  of  the  Acad.  of  Seville. 

Azzoliui   or    Mazzolini,   Gio.    Bernardino,    born    at    Naples. 


62  AZZOLINI  —  BACHELIER. 

Flourished  1510.  He  resided  chiefly  at  Genoa,  and  his  pictures  arc 
in  the  churches  and  convents  of  that  city.  He  excelled  in  wax-work 
and  formed  heads  with  a  wonderful  expression  of  life. 

B. 

Baader,  Amalie,  born  in  Erding,  Bavaria,  1763.  An  amateur  en- 
graver. She  studied  under  J.  Dorner.  Her  mark  is  an  A  and  B 
interlaced,  and  is  found  on  copies  after  Rembrandt,  Schmidt,  and 
some  Italian  masters. 

Baak,  Hattigh  Jan.  An  artist  of  Utrecht  about  the  middle  of 
the  1 7th  century.  In  the  hospital  of  S.  Job  of  Utrecht  there  is  a 
work  of  his  dated  1642.  It  is  a  landscape,  with  figures,  and  from  its 
style  he  was  probably  a  pupil  of  Poelemburg. 

Baan,  John  de,  born  at  Haerlem,  1633  ;  died  at  the  Hague,  1702. 
An  eminent  portrait  painter.  Instructed  first  by  an  uncle  named 
Piemans,  he  then  studied  under  Jacob  de  Backer.  He  succeeded  so 
well  in  portrait  painting,  that  he  confined  himself  almost  entirely  to 
that  branch  of  art.  He  was  an  admirer  and  worthy  imitator  of  Van- 
dyck.  Charles  II.  of  England  was  anxious  to  be  painted  by  De  Baan, 
and  invited  him  to  his  court  for  that  purpose,  where  he  also  painted 
many  of  the  nobility.  When  Louis  XIV.  had  conquered  a  part  of 
Holland,  he  sent  to  Utrecht  for  this  artist  to  come  and  paint  his 
portrait.  But  he  received  a  refusal,  the  excuse  being,  that  when  his 
country  was  in  the  midst  of  mourning,  he  could  not  trace  the  features 
of  her  conqueror.  One  of  the  best  works  of  De  Baan  is  his  portrait 
of  Prince  Maurice  of  Nassau-Ziegen. 

Baccarini,  Jacopo,  born  at  Reggio  (1630-1682).  Painter  of  his- 
tory and  a  pupil  of  Orazio  Talami.  Two  of  his  best  works  are  in 
the  ch.  of  S.  Filippo  at  Reggio,  and  represent  the  "Death  of  S. 
Alessio  "  and  the  "  Repose  in  Egypt." 

Baccicio.     See  Gaulli. 

Baccio.     See  Delia  Porta. 

Bacheley,  Jacques,  born  at  Pont  1'Eveque  in  Normandy  (1712- 
1781).  An  engraver  and  designer.  Member  of  the  Acad.  of  Rouen. 
We  have  prints  of  landscapes  after  Dutch  masters  by  this  artist. 

Bachelier,  Jean  Jacques,  born  at  Paris  (1724-1805).  As  an  ar- 
tist he  is  unimportant,  but  he  gained  a  fortune  of  60,000  francs, 
which  he  devoted  to  the  establishment  of  a  free  school  of  drawing 
for  artists.  He  was  director  of  the  porcelain  manufactory  at 
Sevres,  and  greatly  improved  its  taste.  Bachelier  assisted  Count 
de  Caylus  in  his  attempts  to  discover  the  ancient  method  of  en- 
caustic painting,  and  invented  a  kind  of  encaustic  varnish  to  pre- 
serve marbles  from  the  action  of  the  weather.  He  also  wrote  two 
books  entitled  "  Le  Conseil  de  Famille,"  and  a  "  Memoire  sur 
I'&lucation  des  Filles." 


PORTRAIT   OF  MRS.   SIDDONS. 
BY  GAINSBOROUGH.    See  p.  290. 


BACHELIER  —  BAERSE.  63 

Bachelier,  Nicholas,  born  at  Toulouse  (1496-1554).  An  unim- 
portant sculptor  and  architect. 

Bachiaca.     See  Ubertino. 

Backereel,  Giles.  An  artist  who  adorned  many  of  the  churches 
of  the  Low  Countries.  A  contemporary  of  Rubens,  and  like  him  in 
style.  One  of  the  best  artists  of  his  country,  when  art  was  at  its  best. 
An  altar-piece  of  his  in  the  Cath.  of  Bruges,  represents  "  S.  Charles 
Borromeo  administering  the  Sacrament  to  those  stricken  with  the 
Plague."  A  grand  and  striking  composition,  with  fine  coloring.  In 
the  ch.  of  the  Augustines  at  Antwerp,  there  is  a  fine  "  Crucifixion  " 
by  Backereel,  and  at  the  Franciscan  ch.  at  Brussels,  a  picture  of  the 
"  Virgin  and  Child,"  with  S.  Beatrice  and  other  saints. 

Backhuyseii,  Ludolf,  born  at  Embden,  1631 ;  died  at  Amsterdam, 
1709.  Until  he  was  eighteen  years  old,  he  was  employed  in  mercan- 
tile pursuits ;  but  constantly  sought  the  company  of  painters,  and  at 
that  age  became  the  pupil  of  Aldert  van  Everdingen.  He  went  con- 
stantly amongst  the  shipping,  and  made  sketches  in  Indian  ink  and 
bistre,  which  were  purchased  by  collectors,  at  large  prices.  He  at 
length  began  to  paint  with  good  success,  and  became,  in  time,  the 
most  noted  painter  of  rough  seas.  He  often  exposed  himself  and  his 
boatmen  to  great  danger,  by  going  out  in  storms,  to  study  the  waves 
and  clouds,  when  in  their  wildest  state.  In  coloring  he  cannot  com- 
pare with  Willem  van  der  Velde,  but  the  pictures  of  the  latter  rep- 
resent mostly  smooth  waters.  The  pictures  of  Backhuysen  were  in 
great  demand,  not  only  in  his  own  country,  but  in  others.  Smith 
enumerates  one  hundred  and  eighty-four  of  his  works,  and  many  of 
them  of  considerable  size.  It  is  not  possible  to  give  a  full  list  of 
them  and  the  places  they  are  in,  but  the  following  are  some  of  the 
best.  One  in  the  Van  der  Hoop  Coll.  at  Amsterdam,  a  coast  scene, 
sea  and  sky  agitated  with  coloring  or  lighting,  of  great  beauty.  No. 
5,  Amsterdam  Mus.,  dated  1673,  view  of  the  River  Y;  clear  and 
brilliant.  No.  6,  same  place,  stormy  scene.  Louvre,  No.  7,  rough 
sea  at  the  mouth  of  the  Maas;  a  fishing  boat  is  trying  to  run  in. 
No.  5  of  the  Louvre  gives  ten  men-of-war  at  the  mouth  of  the  Texel. 
A  view  of  the  last  river  in  the  Bridgewater  Gall.,  No.  1 22,  with  seven 
vessels,  and  dated  1670,  is  very  fine.  In  the  Mus.  at  the  Hague,  No. 
6  is  fine  in  the  sunshine  and  shadow  upon  the  water,  but  No.  7  is 
heavy  and  hard.  Many  of  his  pictures  are  in  England,  in  the  Na- 
tional Gall.,  colls,  of  Lord  Ashburton,  Mr.  Baring,  and  others. 
Peter  the  Great  was  a  pupil  of  Backhuysen,  who  made  for  the  Czar 
numerous  drawings  for  the  construction  of  vessels. 

Backhuysen,  Ludolf,  grandson  of  the  preceding,  born  at  Amster- 
dam (1717-1782).  Good  painter  of  horses  and  battles. 

Baerse,  Jacques  de  la.  A  sculptor  of  Dendermonde,  who  la- 
bored in  1391.  He  did  the  carving  of  the  remarkable  shrines,  de- 
signed and  painted  by  Melchior  Broederlain,  for  the  Cath.  of  Dijon, 
which  are  now  preserved  in  the  Mus.  of  that  city. 


64  BAGLIONI  —  BAILLIE. 

Baglioni,  Cesare,  born  at  Bologna.  A  contemporary  of  the  Ca- 
racci,  he  profited  by  their  style,  though  not  of  their  school.  He  was 
an  artist  of  considerable  merit,  and  painted  landscapes,  history,  ani- 
mals, fruit,  etc.  His  principal  works  are  at  Bologna  and  Parma,  and 
are  much  esteemed.  In  the  ch.  of  the  Madonna  del'  Soccorso  at  Bo- 
logna there  is  an  "  Ascension,"  and  in  the  ch.  of  S.  Giorgio,  an  altar- 
piece,  representing  "  S.  Anthony  and  S.  Martha,"  by  this  master. 
He  was  living  in  1610. 

Baglioni,  Cavaliere  Gio.,  born  at  Rome.  A  pupil  of  Francesco 
Morelli.  He  was  much  employed  during  the  time  of  Clement  VIII. 
and  Paul  V.  In  S.  Niccolo  in  Carcere,  there  is  a  fine  picture  of  his 
of  the  "Last  Supper."  In  S.  Peter's  there  is  a  picture  of  that 
saint  raising  Tabitha  from  the  dead,  for  which  he  was  made  a 
Knight  of  the  Order  of  Christ,  by  Paul  V.  This  artist  was  the 
author  of  the  "  Lives  of  the  Painters,  Sculptors,  and  Architects  who 
flourished  at  Rome  from  1572  to  1642." 

Bagnacavallo,  II.  The  real  name  of  this  artist  was  Bartolommeo 
Ramenghi.  He  was  called  II  Bagnacavallo  from  his  birthplace. 
Born  1484;  died  at  Bologna,  1542.  He  studied  under  Francia  at 
Bologna,  before  he  went  to  Rome,  where  he  was  a  pupil  in  the  school 
of  Raphael,  and  afterwards  assisted  that  great  master  in  some  impor- 
tant works.  Bagnacavallo  worshipped  Raphael,  and  felt  that  to  imi- 
itate  him,  was  an  aim  worthy  of  his  ambition.  Upon  his  return  to 
Bologna  he  brought  the  Roman  style  of  painting  to  that  city. 

The  works  of  this  artist  are  not  common  in  galleries.  It  is  said 
that,  nis  pictures  were  admired  by  the  Caracci.  He  distinguished 
himself  at  Bologna  by  a  "  Crucifixion  ' '  which  he  painted  for  the  ch. 
of  S.  Pietro.  It  is  dated  1522.  In  the  Dresden  Gall,  there  is  a 
"  Madonna  and  Child"  in  a  glory,  with  four  male  saints,  which  is, 
by  some,  considered  his  masterpiece.  It  is  "  a  picture  of  great  and 
energetic  expression."  A  "  Holy  Family  "  with  saints,  in  the  Gall. 
at  Bologna  is  pleasing,  but  not  powerful.  In  S.  Maria  della  Pace  at 
Rome,  there  are  frescoes  of  a  Saint  and  a  Prophet  in  armor,  colossal 
in  size.  There  are  also  works  of  his  in  the  Berlin  Mus.,  the  Colonna 
Pal.,  and  in  the  Solly  Coll.  There  are  others  in  different  churches 
of  Bologna. 

Bagnacavallo,  Gio.  Batista.  Son  of  Bartolommeo  Ramenghi. 
He  went  to  France  as  an  assistant  to  Primaticcio,  when  he  undertook 
his  work  at  Fontainebleau.  When  he  returned  to  Bologna,  he  was 
made  chief  of  the  Acad.  of  that  city. 

Baillie,  Captain  William.  An  amateur  engraver. 
Born  in  Ireland  about  1736.  His  early  life  was  passed  in 
the  army,  from  which  he  retired  with  the  rank  of  captain 
of  cavalry.  He  devoted  the  remainder  of  his  life  to  art. 
He  was  one  of  the  most  intelligent  connoisseurs  of  his  time.  Wo 
have  about  a  hundred  plates  of  his,  engraved  in  different  manners. 


BAILLIE  —  BALDOVINETTI.  65 

His  copies  after  Rembrandt,  and  his  plates  after  the  style  of  that 
master,  are  his  choicest  works.  The  following  are  a  few  of  his 
plates  :  — 

Christ  Healing  the  Sick,  called  the  Hundred  Guilder  Print.  Orig- 
inal plate  by  Rembrandt,  and  admirably  retouched  by  Baillie. 

Beggars  at  the  Door  of  a  House ;  after  Rembrandt' 's  print. 

The  Gold- weigher;  finely  copied  from  Rembrandt's  print. 

Three  Trees;  landscape;  after  same. 

Old  Man,  half-length,  with  a  Cap  and  Beard;  1765;  after  Rem- 
brandt. 

Landscape,  with  a  Horse ;  after  Rembrandt* s  print. 

The  Pen-cutter;  after  Ger.  Douw. 

Interior  of  an  Ale-house,  with  figures  regaling;  after  Tenters; 
fine. 

Another  Interior  with  Peasants  Smoking  and  Drinking  ;  after  A. 
Ostade.  1 765. 

Bailii,  David,  born  at  Leyden  (1584-1638).  Painter  of  portraits 
and  perspective  church  interiors.  The  latter  works  of  his  are  much 
admired. 

Baillu  or  Bailliu,  born  at  Antwerp,  1614.  An  engraver,  whose 
principal  plates  are  after  Rubens  and  Vandyck.  Although  not  the 
best,  his  prints  are  well  esteemed. 

Baillu  or  Bailliu  or  Baleau,  Bernhard,  born  in  the  Netherlands 
about  1625.  An  engraver  of  portraits  and  a  few  historical  subjects. 
He  executed  entirely  with  the  graver. 

Bajardo,  Gio.  Batista,  born  at  Genoa  (1620-1657).  A  painter  of 
history  whose  pictures  are  esteemed  in  Genoa.  The  best  are  in  the 
portico  of  S.  Pietro  and  the  cloister  of  S.  Agostino. 

Bakker,  Jacob,  born  at  Harlingen  (1608-1641).  Lived  chiefly 
at  Amsterdam,  and  painted  history  and  portraits  with  great  rapidity. 
His  works  arc  praised  by  the  poet  Vondel.  Many  of  them  are  in 
Spain.  An  altar-piece  in  a  chapel  of  the  Antwerp  Cath.  represent- 
ing the  "Last  Judgment"  is  by  Bakker,  and  is  a  fine  picture. 
Another  of  his  works  is  a  large  archery  piece,  No.  34,  in  the  new 
Hotel  de  Ville  at  Amsterdam. 

Bakker,  Adrian,  born  at  Amsterdam  (1643-1686).  Nephew  of 
Jacob.  Studied  at  Rome.  Excelled  most  of  his  countrymen  in  cor- 
rectness of  design.  His  chef-d'oeuvre  is  a  picture  of  the  "  Judgment 
of  Solomon,"  in  the  Hotel  de  Ville  at  Amsterdam. 

Baldi,  Lazzaro,  born  at  Pistoja  (1623-1703).  A  scholar  of  Pietro 
da  Cortona,  in  Rome.  He  became  an  eminent  painter  of  his  time. 
In  the  Pontifical  Pal.  at  Monte  Cavallo,  there  is  an  esteemed  work  of 
his  representing  "David  and  Goliath."  The  "Martyrdom  of  S. 
Lazzaro  "  is  in  the  ch.  of  S.  Luke. 

Baldovinetti,  Alessio,  born  at  Florence  (1422-1499).  He  is 
believed  to  have  been  a  pupil  of  Paolo  Uccelli.  His  works  are  few, 
5 


66  BALDOVINETT;!  —  BALDUNG. 

and  are  distinguished  for  minuteness  in  detail.  He  is  said  to  hare 
painted  straws  so  that  their  stems  and  joints  could  be  seen.  He  ex- 
ecuted portraits  and  historical  subjects,  both  in  oils  and  fresco.  His 
remaining  works  are  much  injured  by  scaling  or  the  abrasion  of  the 
colors.  Those  best  known  are  a  fresco  in  the  cloister  of  the  Annun- 
ziata  at  Florence;  No.  24,  Uffizi  Gall.;  and  a  "  Trinity"  with  Saints, 
painted  for  a  chapel  in  S.  Trinita  at  Florence.  He  was  interested 
in  mosaic  work,  and  studied  much  to  learn  the  best  manner  in  which 
it  could  be  done.  In  1481  he  repaired  the  mosaic  over  the  portal 
at  S.  Miniato  al  Monte.  He  was  a  chemist,  as  well  as  an  artist.  He 
claims  to  have  been  the  teacher  of  Ghirlandaio.  He  was  buried  in 
S.  Lorenzo  at  Florence. 

Baldrighi,  Giuseppe,  born  at  Pavia  (1722-1802).  A  pupil  of 
Vincenzio  Meucci.  He  was  invited  to  the  court  of  Parma,  and  ap- 
pointed painter  to  the  Duke.  He  painted  portraits  of  the  ducal 
family,  which  were  much  admired.  One  of  his  finest  pictures  is  in 
the  saloon  of  the  Acad.  of  Parma,  and  represents  "  Prometheus." 

Balducci,  Gio.,  called  Cosci,  died  1600.  Said  to  have  been  a 
native  of  Florence  and  a  pupil  of  Batista  Naldini.  He  was  employed 
at  Rome  by  Leo  XI.,  when  Card.  De'  Medici.  His  works  may  be 
seen  at  Rome,  at  Florence,  and  at  Naples,  which  he  visited  towards 
the  close  of  his  life. 

Baldung,  Hans,  called  Grim.  Born  at  Gemund,  1470  ;  died  at 
Strasbourg,  1552.  A  contemporary,  and  perhaps  a  pupil  of  Albert 
Diirer,  but  inferior  to  him  in  beauty  of  design  and  color.  A  number 
of  his  pictures  may  be  seen  in  the  Cath.  of  Freiburg.  An  altar-piece 
dated  1516  is  considered  his  chef-d'oeuvre.  One  of  his  best  portraits 
is  in  the  Vienna  Gall.  No.  148,  Munich  Gall.  Cabinets,  is  a  por- 
trait of  the  Margrave  of  Baden.  Berlin  Mus..  Nos.  603  and  623  are 
his  works.  He  was  an  engraver,  and  ^^-^ed  chiefly  on  wood. 
Bartsch  assigns  to  him  two  engravings  on  copper,  and  mentions  fifty- 
nine  wood-cuts.  His  drawing  was  sometimes  incorrect ;  but  the 
expression  of  the  heads  was  good.  The  following  are  some  of  his 
prints :  — 

Adam  and  Eve  plucking  the  apple. 

The  Fall  of  Adam;  inscribed  on  a  tablet,  "  Lapsus  humanis  gen- 
eris. 1511. 

Christ  and  the  Apostles.     1514.     Thirteen  plates. 

The  Crucifixion,  with  S.  John,  the  Virgin,  and  Mary  Magdalene; 
in  chiaro-scuro;  fine. 

Two  landscapes;  very  scarce. 

Four  small  upright  prints :  Solomon's  Idolatry,  Samson  and  Deli- 
lah, David  and  Bathsheba,  and  Aristotle  and  Phryne;  very  fine. 

An  Incantation  ;  in  chiaro-scuro.     1510. 

The  Holy  Family,  with  SS.  Elizabeth  and  Catherine  ;  half-length. 
1512- 


BALDUNG  —  BANDINELLI.  67 

Two  prints  of  Horses  in  a  Forest;  marked  "BALDUNG.    1534." 

A  Man  with  a  Horse ;  large  upright  ;  no  date. 

Balechou,  Jean  Jacques,  born  at  Aries,  1715  ;  died  at  Avignon, 
1764.  Very  celebrated  engraver.  He  excelled  all  French  engravers 
who  preceded  him  in  the  clearness  of  his  strokes  and  brilliancy  of 
color.  In  neatness  of  execution  he  has  rarely  been  surpassed.  There 
is,  however,  a  deficiency  in  his  drawing,  especially  in  portraits,  which 
detracts  from  the  effect  of  his  works.  His  three  plates  after  Vernet, 
representing  the  "  Storm,"  the  "  Calm,"  and  the  "Bathers,"  are 
among  his  finest  plates. 

Balen,  Heinrich  van,  born  at  Antwerp  (1560-1632).  Pupil  of 
Adam  van  Oort.  He  went  to  Italy,  and  returned  to  Antwerp,  where 
the  demand  for  Ms  pictures  was  greater  than  he  could  supply.  In 
purity  of  color  he  excelled  the  older  Flemish  artists,  but  was  cold  in 
feeling,  and  mannered  in  design.  The  backgrounds  of  his  pictures 
were  often  painted  by  Jan  Breughel,  and  sometimes  by  Kierings. 
These  works  were  found  in  the  best  collections.  His  nude  figures 
were  the  most  pleasing,  and  exquisite  in  finish.  In  the  Antwerp 
Cath.  are  two  altar-pieces,  and  in  the  ch.  of  S.  Jacques  an  "  Ascen- 
sion "  by  Balen.  lie  was  the  first  instructor  of  Vandyck. 

Balestra,  Antonio,  born  at  Verona  (1666-1740).  Pupil  of  Carlo 
Maratti  at  Rome,  where  he  was  employed  to  paint  in  several  churches 
;m<l  palaces.  He  gained  the  prize  at  the  Acad.  of  S.  Luke  in  1694. 
He  was  not  a  great  master,  but  his  works  are  held  in  good  estima- 
tion. One  of  his  finest  pictures  is  in  the  ch.  of  S.  Ignatius  at  Bo- 
logna. He  was  also  an  engraver,  and  his  plates  from  his  own  designs 
are  etched  in  a  free  and  masterly  manner. 

Baltz,  J.  Georges,  born  at  Strasbourg,  1 760.  Painted  miniature 
portraits  and  landscapes  on  porcelain,  many  of  which  are  seen  in  the 
cabinets  of  Europe. 

Bambini,  Giacomo,  born  at  Ferrara  ;  died  1622.  Pupil  of  Do- 
menico  Mona.  There  arc  many  of  his  works  in  the  churches  and 
public  edifices  of  Ferrara. 

Bambini,  Niccolo,  born  at  Venice  (1651-1736).  Pupil  of  Giulio 
Miizzoni  and  Carlo  Maratti.  He  imitated  Liberi,  and  like  him  was 
distinguished  for  his  beautiful  women.  He  was  a  reformer  in  Vene- 
tian art.  Many  of  his  works  are  in  the  churches  of  Venice.  Bam- 
bini was  the  master  of  Zanetti. 

Bamboccio.     See  Peter  de  Laer. 

Banck,  Peter  van  der,  of  Flemish  extraction,  but  born  at  Paris 
(1649-1697).  Pupil  of  Francis  de  Poilly,  and  an  eminent  engraver. 
In  1674  he  went  to  England  with  Henry  Gascar.  He  painted  por- 
traits of  many  eminent  persons  of  his  time,  which  are  much  esteemed 
for  their  historical  value,  as  well  as  for  their  merit  as  engravings. 

Bandiiielli,  Baccio,  born  at  Florence  (1487-1559).  Sculptor 
and  painter.  Scholar  of  Rustici,  and  friend  of  Leonardo  da  Vinci. 


68  BANDINELLI  —  BARBARIS. 

His  designs  were  powerful,  and  his  treatment  bold,  but  he  had  much 
mannerism.  He  hated  Michael  Angelo,  whom  he  never  could  equal. 
He  was  envious,  false,  and  calumnious,  full  of  silly  vanity,  his  only 
virtue  being  that  of  industry.  But  all  that  has  passed  away,  and  his 
works  remain  to  claim  for  him  his  due  distinction.  The  best  of  these 
are  a  bas-relief  on  the  screen  of  the  choir  (or  the  high  altar)  of  the 
Florence  Cath.,  which  represents  the  Prophets,  the  Apostles,  the 
Virtues,  etc. ;  a  bas-relief  on  a  pedestal  in  the  Piazza,  of  S.  Lorenzo, 
at  Florence  ;  and  a  group  representing  "  Nicodemus  supporting 
Christ,"  which  he  intended  for  his  own  monument.  This  last  is  in 
the  ch.  of  the  Annunziata,  at  Florence,  and  the  Nicodeinus  is  a 
portrait  of  Bandinelli  himself. 

Banks,  Thomas,  born  at  Lambeth  (1738-1805).  He  served  his 
apprenticeship  to  a  wood  carver.  He  obtained  several  premiums 
from  the  Society  for  the  Encouragement  of  the  Arts,  for  models  in 
sculpture.  He  then  entered  himself  a  student  of  the  Royal  Acad., 
and  obtained  their  gold  medal.  This  entitled  him  to  study  in  Rome 
three  years.  He  applied  himself  closely  to  the  study  of  the  antique, 
and  there  executed  two  of  his  best  works  in  marble :  "  Cupid  catch- 
ing a  Butterfly,"  purchased  by  Catherine  II.  of  Russia;  and  "  Ca- 
ractacus  brought  Prisoner  to  Rome."  He  returned  to  England,  and 
attempted  to  indulge  his  fancy  in  works  of  a  lofty  and  heroic  style, 
but  he  was  compelled  to  adopt  the  more  lucrative  employment  of 
monumental  sculpture.  He  was  invited  to  Russia  by  the  Empress,  and 
remained  two  years.  Monuments  executed  by  him  are  in  several 
churches  in  England;  and  in  the  Hall  of  the  British  Institution  is  the 
model  of  "  Achilles  mourning  the  Loss  of  Briseis,"  never  executed  in 
marble.  His  life  was  one  of  disappointment.  His  poetic  groups  were 
received  with  coldness,  and  he  lacked  that  encouragement  which 
stimulates  to  the  highest  attainment. 

Baptiste.     See  Monnoyer. 

Barabbino,  Simone,  born  near  Genoa  about  1585.  Pupil  of  Ber- 
nardo Castello,  who  became  jealous  of  his  talent,  and  expelled  him 
from  his  Acad.  He  then  painted  a  picture  for  the  Annunziata  del 
Guastato,  representing  S.  Diego,  which  has  been  much  praised. 
He  removed  to  Milan,  where  he  received  the  honor  due  to  his  ability. 
One  of  his  finest  works  is  a  "  Madonna,"  with  the  dead  Christ,  and 
Saints,  in  the  ch.  of  S.  Girolamo.  Lanzi  says  he  became  a  mer- 
chant, and  died  in  jail. 

Barbaluuga.     See  Ricci. 

Barbarelli.     See  Giorgione. 

Barbaris,  Jacopo  de  (1504).  Little  can  be  told  of  this  painter; 
indeed,  it  is  doubtful  by  what  name  he  should  be  called,  for  he  is 
thought  to  be  identical  with  Jacomo  Barberino  Veneziano,  and  with 
Jacob  Walch,  an  artist  alluded  to  by  Diirer  in  his  correspondence. 
His  signature  and  emblem  (a  wand  of  Mercury),  are  on  a  panel  in 


BARBARIS— BARBIANL  69 

the  Gall,  of  Augsburg,  dated  1504,  and  on  a  head  of  Christ  in  the 
Mus.  of  Weimar.  There  are  also  pictures  of  his  in  Paris,  Ratisbon, 
and  in  Dresden  Mus.  If  he  be  the  same  as  Jacomo  Barberino  Vene- 
ziano,  he  went,  according  to  the  Anonimo,  to  Burgundy  and  Ger- 
many, and  adopted  the  style  of  those  countries.  He  was  in  the  ser- 
vice of  John  of  Burgundy,  Bishop  of  Utrecht,  at  the  same  time  with 
Mabuse,  and  excelled  in  painting  and  engraving. 

fBarbary,  Jacob  da.  An  engraver, 
and  the  true  "Master  of  the  Caduceus" 
17  Pi  W^10  ^as  keen  ca^e(l unt^  recently  Francis 
^**  •""^  *  de  Babylone.  The  reason  of  the  name  is 
found  in  the  fact  that  he  marked  his 

plates  with  a  caduceus.  One  of  his  plates  mentioned  by  Brulliot  is 
dated  1504.  His  nationality  is  a  matter  of  doubt.  Different  authors 
enumerate,  altogether,  twenty-nine  plates  by  this  artist.  They  are 
highly  esteemed  for  their  rarity.  The  following  are  among  those 
known  to  be  his  :  — 

Apollo  and  Diana  ;  small  upright  plate. 

A  Holy  Family,  with  the  Virgin  resting  on  the  stump  of  a  tree, 
and  S.  Joseph  leaning  his  head  on  his  hand ;  square  plate ;  half- 
length  figures. 

A  Holy  Family,  with  S.  Elizabeth,  and  an  Angel  playing  a  musical 
instrument. 

The  Offering  of  the  Wise  Men  ;  small  upright  plate. 

S.  Jerome  writing,  with  a  Crucifix  before  him. 

Two  small  upright  plates;  in  one  a  woman  carries  a  child  in  her 
amis,  and  in  the  other  a  man  carries  a  boat. 

A  Sacrifice  to  Priapus  ;  a  free  subject;  after  Marc  Antonio. 

Barbatelli,  Bernardino,  better  known  as  Poccetti,  and  also 
called  Bernardino  delle  facceati,  or  delle  grotesche.  Born  at  Florence 
(1548-1612).  Pupil  of  Michele  di  Ridolfo  del  Ghirlandaio.  At  first 
he  painted  only  grotesques  and  the  fronts  of  buildings,  and  was  little 
known,  but  later  he  went  to  Rome,  where  he  studied  the  works  of 
Raphael,  and  also  made  a  reputation  as  an  architect.  Few  of  his 
pictures  on  wood  or  canvas  remain,  but  many  of  his  frescoes  are  still 
in  Florence,  and  compare  well  with  those  of  many  Italian  masters. 
Mengs  always  studied  him  when  in  Florence,  and  Pietro  da  Cortona 
admired  his  works.  He  sometimes  painted  hastily,  and  again  would 
prepare  his  drawings  with  the  greatest  care,  but  his  pencil  was 
always  firm,  and  his  works  displayed  facility  and  freedom.  He 
adorned  his  historical  pictures  with  fine  landscapes,  sea-views,  fruits 
and  flowers,  and  his  draperies  were  admirable. 

Barbello,  Gio.  Giacomo,  born  at  Cremona  (1590-1656).  Best 
known  by  his  pictures  in  the  churches  of  Bergamo. 

Barbiani,  Andrea,  born  at  Ravenna  (1680-1754).  Believed  to 
have  studied  under  P.  Cesare  Pronti,  whose  style  he  imitated  in  his- 


70  BARBIANI  —  BAROCCIO. 

torical  paintings.  The  churches  and  public  buildings  of  Ravenna 
and  Rimini  are  adorned  with  his  works,  one  of  the  best  being  in  the 
vault  of  the  Cath.  of  Ravenna,  and  representing  the  "  Four  Evange- 
lists." He  was  an  artist  of  considerable  merit. 

Barbiani,  Gio.  Batista,  born  at  Ravenna.  Flourished  about 
1635.  Probably  studied  under  Bartolomnieo  Cesi.  His  best  fresco 
is  the  "  Assumption  of  the  Virgin,"  in  the  dome  of  the  chapel  of  N. 
Signora  del  Sudore,  in  the  Cathedral.  Some  of  his  best  pictures 
were  at  Bologna. 

Barbier-Walbonne,  Jacques  Luc,  born  at  Nismes,  1769.  Pupil 
of  David.  He  painted  historical  pictures,  and  portraits  of  the  dis- 
tinguished generals  of  France. 

Barbiere,  Domenico  del,  born  at  Florence  about  1506.  A  pupil 
of  D  Rosso,  whom  he  accompanied  to  France,  when  he  came  by  in- 
vitation of  Francis  I.  to  ornament  the  palaces  of  Fontainebleau  and 
Meudon«  After  the  death  of  Primaticcio,  Barbiere  executed  some 
frescoes  after  the  designs  of  that  master.  He  was  also  an  engraver, 
but  his  works  possess  little  merit.  They  are  valued,  however,  on 
account  of  their  scarcity,  and  are  found  in  curious  collections. 

Barbieri,  Gio.  Francesco.     See  Guercino. 

Barbieri,  Paolo  Antonio,  brother  of  Gio.  Francesco,  called  Guer- 
cino, born  at  Cento  (1596-1640).  A  painter  of  still-life.  He  es- 
pecially excelled  in  pictures  of  fish. 

Barca,  Don  Vicente  Calderon  de  la,  born  at  Guadalaxara 
(1762-1794).  Pupil  of  Don  Francisco  Goya.  Painted  history  and 
portraits,  and  excelled  in  the  latter.  His  finest  historical  work  is  in 
a  college  at  Avila,  and  represents  the  "  Birth  of  S.  Norbert." 

Bardin,  Jean,  born  at  Montbar  (1732-1809).  Pupil  of  the  elder 
Lagrenee.  Studied  also  at  Rome.  He  was  a  popular  artist  in  France 
and  was  admitted  to  the  Acad.  in  1795,  His  subjects  were  religious, 
poetical,  and  historical.  David  and  Regnault  were  instructed  in  the 
elements  of  painting  by  Bardin. 

Barker,  Robert  (1739-J806).  Inventor  of  panoramic  painting. 
His  first  picture  of  this  kind  was  a  view  of  Edinburgh,  which  was 
exhibited  in  that  city  in  1788,  and  in  London  a  year  later.  At  first 
this  kind  of  exhibition  attracted  but  little  attention,  but  soon  its  use- 
fulness was  appreciated,  and  it  became  popular. 

Barnuevo,  Don  Sebastian  de  Herrera,  born  at  Madrid  (1611- 
1671).  Architect,  sculptor,  and  painter.  Studied  first  with  his 
father  who  was  a  sculptor,  then  became  a  pupil  in  painting  under 
Alonso  Cano.  He  gained  reputation  in  the  three  branches  of  art  to 
which  he  gave  his  attention.  Many  of  his  works  are  in  Madrid. 
The  "  Nativity,"  in  the  ch.  of  S.  Geronimo,  and  the  u  Beatification 
of  S.  Augustine,"  in  the  great  chapel  of  the  Augustine  Recollets, 
were  his  principal  pictures. 

Baroccio,  Federigo,  born  at  Urbino  (1528-1612).     Studied  de- 


BAROCCIO.  71 

sign  with  his  father,  who  was  an  engraver.  Became  the  pupil  of 
Battista  Franco  of  Venice.  Went  to  Pesaro,  where  he  saw  the  art- 
treasures  of  the  Dukes  of  Urbino,  and  when  twenty  years  old,  to 
Rome.  He  was  hindered  by  his  modesty,  but  Michael  Angelo 
chanced  to  see  some  of  his  drawings,  which  he  praised,  and  Gio.  da 
Udine  became  his  friend.  He  also  became  known  to  Card.  Giulio 
della  Rovere,  who  gave  him  his  patronage.  He  returned,  after  four 
years,  to  Urbino,  and  executed  some  church  paintings  which  gained 
him  great  reputation,  and  when,  in  1560,  he  returned  to  Rome,  Pius 
IV.  employed  him  in  the  Vatican,  with  Federigo  Zucchero.  Here  he 
was  poisoned  by  some  rival,  and  although  the  potion  was  not  fatal, 
it  induced  a  stomachic  disorder,  which  prevented  him  from  working 
more  than  two  hours  a  day  during  the  fifty-two  remaining  years  of 
his  life,  which  years,  with  the  exception  of  three  at  Perugia,  and  a 
visit  to  Florence,  were  passed  at  Urbino.  Some  of  his  best  works 
were,  the  "  Pardon  of  S.  Francis  of  Assisi,"  for  the  Franciscans 
of  Urbino,  on  which  he  spent  six  years;  a  u  Deposition  from  the 
Cross,"  for  the  Cath.  of  Perugia,  three  years,  now  in  the  Vatican; 
the  "Calling  of  S.  Andrew;"  the  "Annunciation,"  now  in  the 
Vatican;  "  Santa  Michelina,"  the  "  Presentation  of  the  Madonna," 
and  the  "Visitation,"  in  the  Chiesa  Nuova,  at  Rome;  the  "Insti- 
tution of  the  Sacrament,"  according  to  the  Romish  rite,  in  the  ch. 
of  the  Minerva,  at  Rome;  the  "  Cenacolo,"  and  a  "  S.  Sebastian," 
in  the  Cath.  of  Urbino;  a  portrait  of  Duke  Francesco  Maria,  in  rich 
armor,  in  the  Tribune  at  Florence;  and  a  "  Madonna  del  Gatto," 
in  the  National  Gall.  This  is  by  no  means  a  list  of  his  pictures,  for 
the  amount  of  work  which  he  accomplished  was  wonderful,  when  we 
consider  his  sufferings.  Baroccio  lived  when  the  art  of  Italy  was 
declining,  and  although  he  avoided,  very  considerably,  the  prevalent 
mannerism  in  form,  his  coloring  was  imperfect.  He  admired  Michael 
Angelo,  but  he  imitated  Correggio  in  color.  Mengs  finds  his  pictures 
wanting  in  yellow;  Reynolds  criticises  his  flesh  colors;  and  Bellori, 
liis  biographer,  thought  he  used  vermilion  and  ultramarine  too  freely. 
His  design  was  correct.  Bellori  says  he  always  made  two  cartoons, 
and  two  colored  sketches;  made  all  his  drawings  from  life,  and 
dressed  models  in  the  required  costumes.  In  spite  of  his  faults  he 
acquired  a  great  name  in  his  day,  and  merits  the  reputation  of  intro- 
ducing harmonious  application  of  light  and  shade  into  Lower  Italy  — 
in  which  management  of  light,  added  to  variety  and  novelty  of 
conception,  his  merit  consists.  Excepting  his  health,  his  life  was 
fortunate.  For  he  was  in  good  circumstances,  happy  in  his  temper, 
li:nl  many  pupils,  and  more  orders  than  he  could  execute.  Duke 
Francesco  Maria  often  visited  him  in  his  house  in  Urbino,  and  on  the 
1st  of  October,  1612,  made  this  entry  in  his  diary  :  "  Federigo  Ba- 
roccio  of  Urbino  died,  aged  77;  an  excellent  painter,  whose  eye  and 
hand  served  him  as  well  as  in  his  youth."  He  was,  in  truth,  eighty- 


72  BAROCCIO  —  BAKKET. 

four  years  old,  and  painted  without  spectacles,  but  not  as  well  as 
earlier  in  life.  He  was  buried  in  S.  Francesco,  where,  in  the  corridor, 
the  tablet  to  his  memory  remains.  At  his  funeral  a  standard  painted 
by  himself,  representing  the  Crucifixion,  was  placed  at  the  foot  of 
his  bier.  Baroccio  was  also  an  engraver,  and  left  several  plates,  cor- 
rect in  design  and  good  in  expression,  though  not  especially  delicate 
in  their  execution. 

Baron,  Bernard,  born  at  Paris,  1700;  died  in  London,  1762.  An 
eminent  engraver,  and  a  pupil  of  Nicholas  Henry  Tardieu.  He  en- 
graved several  plates  for  the  Crozat  Coll.  He  resided  in  England 
some  years  before  his  death.  His  works  have  considerable  merit, 
although  coarse  in  their  execution. 

Baron,  John,  or  Boronius,  called  Tolosano,  born  at. Toulouse 
1631.  Passed  most  of  his  life  at  Rome.  An  engraver  of  portraits 
and  historical  subjects. 

Barozzo,  Jacopo,  called  Vignola,  from  his  birthplace,  in  the  ter- 
ritory of  Modena  (1507-1575).  An  illustrious  architect.  He  com- 
menced to  study  painting  in  the  school  of  Passarotti  at  Bologna,  but 
became  so  enamored  of  the  study  of  perspective,  that  by  that  means 
(as  he  himself  said)  he  was  led  to  devote  himself  to  architecture. 
He  became  a  law-giver  in  that  art  in  Italy.  He  was  employed  in 
Rome  by  a  society  of  nobles  and  gentlemen  to  make  accurate  meas- 
urements of  the  greater  part  of  the  Roman  antiquities.  These  meas- 
ures or  moulds  were  sent  to  France  to  be  cast  in  bronze.  Vignola 
then  accompanied  Primaticcio  to  France,  where  he  was  employed  in 
architectural  works  as  well  as  in  the  casting  of  the  above  named 
statues.  In  1550  Julius  III.  was  made  Pope,  and  Vignola,  by  the 
recommendation  of  friends,  was  appointed  architect  to  His  Holiness. 
Soon  he  became  known  to  Card .  Farnese,  who  employed  him  to  de- 
sign his  magnificent  Pal.  of  Caprarola,  and  would  have  everything 
about  it  done  according  to  his  decision.  In  this  palace  some  pictures 
by  Vignola  were  seen.  After  the  death  of  Michael  Angelo  Pius  V. 
employed  Vignola  to  superintend  the  work  of  S.  Peter's.  This  mas- 
ter also  published  valuable  works  on  architecture,  in  one  of  which  he 
gave  definite  rules  for  the  increase  or  decrease  of  every  part  in  all 
the  five  orders  of  architecture.  This  was  illustrated  by  engravings 
and  proved  a  very  useful  book.  Milizia  called  it  **  L'  Abbicci  dell' 
Architettura. ' ' 

Barret,  George,  born  at  Dublin,  1728;  died  at  Paddington,  1784. 
First  studied  in  the  drawing  Acad.  of  his  native  city  under  Mr.  West. 
The  Earl  of  Powerscourt  became  his  patron,  and  he  painted  many 
views  around  Powerscourt  Park.  In  the  Dublin  Society  he  took  the 
premium  for  the  finest  landscape.  In  1762  he  went  to  England,  and 
there  took  prizes  also.  He  greatly  assisted  in  the  establishment  of 
the  Royal  Acad.  He  was  a  good  painter  of  English  landscape.  His 
works  are  in  the  possession  of  the  nobility,  the  principal  ones  belong- 


BARRET  —  BARTHOLOMEW.  73 

ing  to  the  Dukes  of  Portland  and  Buccleugh.  He  also  left  several 
spirited  etchings. 

Barry,  James,  born  at  Cork  (1741-1806).  Son  of  a  coasting 
trader.  Commenced  to  paint  as  a  boy.  His  picture  of  "  S.  Patrick 
baptizing  the  King  of  Cashel,"  obtained  for  him  the  notice  of  Burke, 
who  gave  him  the  means  to  go  to  London,  and  later,  defrayed  his 
expenses  in  Rome.  He  returned  to  London  in  1771.  In  the  great 
room  of  the  Society  of  Arts,  at  the  Adelphi,  he  painted  six  large  pic- 
tures, illustrating  the  "  Civilization  and  Regeneration  of  Man."  In 
1782  he  was  made  Professor  of  Painting  to  the  Royal  Acad.  In  1799 
he  was  expelled  the  Acad.  on  account  of  a  letter  which  he  had  pub- 
lished, and  other  disagreements  with  his  academicians.  He  died 
poor  and  alone.  He  was  laid  in  state  in  the  Adelphi,  in  the  midst 
of  his  works,  and  was  buried  in  S.  Paul's  Cath.  His  other  pictures 
were  an  "  Adam  and  Eve;  "  "  Venus  Anadyomene;  "  "  Pandora;  " 
and  "  King  Lear."  His  works  arc  not  great,  and  his  unlovely  char- 
acter prevented  his  being  treated  with  charity,  although  by  many  he 
is  regarded  as  a  martyr  to  his  appreciation  and  love  of  high  art. 
Grandeur  seemed  to  mean  vastness  in  his  mind.  The  "  Harvest 
Home,"  at  the  Adelphi,  is  the  best  of  the  six  in  composition  and 
finish.  He  overesteemed  his  own  pictures,  and  could  see  no  beauty 
in  those  of  other  artists. 

Bartholomew,  Edward  Sheffield,  born  at  Colchester,  Conn., 
1822.  After  trying  various  employments  he  abandoned  all  in  disgust, 
spent  his  time  in  drawing,  and  studying  any  pictures  which  were 
within  his  reach.  After  a  time,  he  read  the  life  of  Cellini.  This, 
to  use  his  own  words,  "  put  the  devil  into  him."  He  abandoned  all 
employment,  and  his  friends  regarded  him  as  good  for  nothing,  prac- 
tically. By  some  means  he  studied  a  year  at  the  life  school  of  the 
Acad.  in  New  York,  and  did  some  drawings  which  revealed  his 
talents  to  a  few  friends.  He  was  the  intimate  friend  of  Church.  He 
obtained  the  appointment  of  Curator  of  the  Wadsworth  Gall,  at 
Hartford.  He  made  careful  copies  and  studies,  but  when  he 
attempted  to  paint  in  oil  found  that  he  was  color-blind.  He  then 
determined  to  attempt  sculpture.  His  "  Flora  "  was  his  first  work, 
and  from  its  execution  may  be  dated  his  artistic  career.  By  his  own 
exertions  and  the  aid  of  friends  he  obtained  the  means  to  visit  Italy. 
When  in  New  York  he  was  attacked  with  small-pox,  which  left  him 
lame  for  life,  with  a  weakened  constitution.  When,  at  length,  he 
sailed,  it  was  in  an  ill  provided  vessel,  and  he  suffered  much  on  the 
voyage.  He  requested  to  be  landed  on  the  coast  of  France,  and 
made  his  way  thence  to  Rome.  So  great  was  his  energy  that,  in 
spite  of  all  his  hindrances,  within  three  days  after  his  arrival  he 
was  engaged  in  modelling  the  "  Blind  Homer  led  by  his  Daughter." 
From  that  time  his  life  was  prosperous.  His  chef-d'oeuvre,  the  "  Re- 
pentant Eve,"  belongs  to  Joseph  Harrison  of  Philadelphia.  His 


74  BARTHOLOMEW  —  BARTOLO. 

"  Shepherd  Boy  "  to  E.  Pratt  of  the  same  city.  In  Hartford  there 
is  a  large  collection  of  figures,  busts,  and  bas-reliefs  by  this  artist. 
He  also  executed  several  monumental  works,  and  visited  America 
to  superintend  the  erection  of  a  monument  to  Charles  Carrol. 
His  home  was  always  in  Rome.  On  a  second  visit  to  America  he 
renewed  his  friendship  with  Church,  and  the  citizens  of  Hartford 
complimented  him  by  a  public  dinner.  He  returned  to  Italy  with 
fresh  zeal  and  aspirations,  but  it  was  only  to  die.  In  a  few  months, 
on  account  of  his  health,  he  went  from  Rome  to  Naples,  where  he 
lived  but  a  short  time. 

Bartoli,  Pietro  Sante,  sometimes  called  II  Perugino,  born  at  Pe- 
rugia, 1635.  He  first  practised  painting,  but  gave  it  up  for  engrav- 
ing, in  which  he  became  eminent.  He  left  a  great  variety  and  num- 
ber of  plates,  which  are  chiefly  etched  in  a  free  and  masterly  manner. 
He  sometimes  marked  his  plates  with  his  initials,  and  added  an  F.  for 
fecit :  thus,  P.  B.  F.,  but  more  frequently  he  used  the  following : 
Petr.  Ss.  Bart.  sc.  Romce. 

Bartolin  of  Piacenza.  Little  is  known  of  this  old  painter.  In 
the  Baptistery  of  Parma,  and  in  the  ch.  of  S.  Antonio  at  Piacenza 
there  are  several  pictures  attributed  to  him.  They  are  believed  to 
belong  to  the  close  of  the  14th,  and  rise  of  the  15th  century,  and  are 
very  rude. 

Bartolini,  Gioseffo  Maria,  born  at  Imola,  1657.  Pupil  of  Lorenzo 
Pasinelli,  at  Bologna.  His  pictures  were  historical,  and  some  which 
still  remain  in  the  public  edifices  at  Imola  are  much  esteemed,  espe- 
cially one  in  the  ch.  of  S.  Domenico,  representing  a  miracle  by  S. 
Biagio.  This  artist  was  living  in  1718. 

Bartolini,  Lorenzo,  born  in  Florence  (1777-1850).  He  studied 
first  in  Paris  ;  visited  Rome,  and  settled  in  Florence.  He  left  many 
works  —  some  of  considerable  merit,  but  others  bear  the  impress  of 
French  affectation.  He  executed  many  statues  and  monuments,  and 
was  considered  a  leading  master  of  his  tune.  At  the  Esterhazy  Mus. 
in  Vienna  are  three  "  Genii  "  by  this  master,  remarkable  for  their 
elegance  and  truthfulness. 

Bartolo,  Taddeo  di.  A  Sienese  painter  of  the  early  part  of  the 
15th  century.  His  earliest  pictures  are  at  Perugia.  There  is  an 
altar-piece  dated  1403.  It  represents  the  "  Virgin  and  Child,"  with 
two  angels  and  S.  Bernard.  This  is  now  in  the  Acad.,  where  there 
are  two  other  works  of  this  master.  In  the  ch.  of  S.  Agostino,  Pe- 
rugia, a  "  Descent  of  the  Holy  Ghost,"  by  Taddeo,  is  admirable. 
The  Acad.  of  Siena  has  an  "  Annunciation,"  and  the  Louvre  at 
Paris  several  pictures  not  important  in  considering  Taddeo,  but  those 
of  the  "  Life  of  the  Virgin,"  on  the  walls  of  the  chapel  of  the 
Palazzo  della  Signoria  at  Siena,  are  worthy  of  note.  They  were 
done  in  1407,  and  are  peculiarly  impressive  from  their  refinement  and 
true  feeling.  In  1414  he  painted  a  hall  joining  the  chapel  which  is 
much  inferior,  and  represents  ancient  orators,  poets,  and  statesmen. 


LlltUl. 


BARTOLO  —  BASAITI.  75 

Bartolo,  Domenico  di.  Flourished  1440.  The  brother  or  nephew 
of  Taddeo,  but  much  inferior  to  him.  An  "  Assumption  "  in  the 
Berlin  Mus.  is  somewhat  effective  in  arrangement,  but  coarse  in  the 
manner  of  execution.  In  1440  he  represented  the  "  Works  of 
Mercy  "  in  the  Hospital  della  Scala  at  Siena,  but  they  are  pictures 
of  no  merit. 

Bartolommeo,  Fra.     See  Porta,  Baccio  della. 

Bartolozzi,  Francesco,  born  at  Florence  (1730-1813).  This 
eminent  designer  and  engraver  studied  drawing  under  Hugfort  Fer- 
retti  at  Florence,  and  engraving  with  Joseph  Wagner  at  Venice.  He 
went  to  England  in  1764  and  became  eminently  distinguished.  He 
practised  every  kind  of  engraving.  The  number  of  his  plates  is 
enormous  and  their  finish  exquisite.  His  etchings  are  remarkable  for 
the  truthfulness  with  which  he  reproduced  the  spirit  and  expression 
of  the  works  he  copied. 

Bartsch,  Adam,  born  at  Vienna  (1757-1820).  Engraver  and 
author.  He  was  principal  keeper  of  the  Imperial  and  Royal  Gall,  at 
Vienna,  and  published  u  Le  Peintre  Graveur,"  which  is  the  best 
account  of  prints  yet  published.  Besides  this  he  published  a  "  Cata- 
logue of  the  Etchings  of  Rembrandt  and  his  Pupils,"  which  like  the 
former  book  is  wonderful  for  its  accuracy.  For  the  first  he  made  fac- 
similes of  rare  etchings,  in  which  the  spirit  of  the  originals  is  per- 
fectly reproduced.  In  1818,  his  son  Frederic  published  a  "Cata- 
logue Raisonne  "  of  the  works  of  the  father,  which  numbered  505. 

Bas,  Jacques  Philippe  Le,  born  at  Paris  (1708-1782).  Cele- 
brated engraver.  Studied  with  N.  Tardieu.  The  number  of  plates 
which  he  left  is  very  large.  He  had  many  pupils,  was  an  ingenious 
artist,  and  Bryan  says,  "  availed  himself  much  of  the  freedom  and 
facility  of  etching,  which  he  harmonized  in  an  admirable  manner 
with  the  graver  and  dry  point."  He  made  more  than  one  hundred 
prints  after  Teniers,  and  copied  that  master  most  successfully. 

Basaiti,  Marco.  It  is  not  known  whether  this  artist  was  born  at 
Friuli  or  Venice.  He  was  of  Greek  parentage.  Flourished  from 
1470  to  1520.  He  is  believed  to  have  been  the  assistant  of  Luigi 
Vivarini,  and  Gio.  Bellini.  He  acquired  much  of  the  manner  of 
both  these  masters,  and  imitated  besides,  at  different  periods,  Palma, 
Lotto,  and  Carpaccio.  He  probably  survived  Raphael,  but  a  wider 
difference  could  scarcely  be  imagined  than  exists  between  the  pic- 
tures of  the  two.  Basaiti' s  colors  are  brilliant,  and  his  pictures  fin- 
ished with  the  greatest  care,  even  in  the  most  minute  details,  which 
results  in  a  dry  realism.  His  figures  have  character,  and  a  peculiar 
dignity,  but  his  draperies  are  stiff  and  his  heads  have  a  tiresome 
sameness.  His  works  are  almost  numberless,  and  there  are  few  col- 
lections without  them.  The  following  are  some  of  the  more  impor- 
tant :  National  Gall.,  S.  Jerome  reading,  and  the  Virgin  seated  in 
a  meadow  with  the  Child  asleep  on  her  lap;  Munich  Gall.,  "  De- 


76  BASAITI  —  BASSANO. 

position  from  the  Cross;  "  Venetian  Acad.,  "  Christ  with  the  Disci- 
ples in  the  Garden,"  and  the  "  Calling  of  SS.  Pe^er  and  Andrew," 
1511;  Vienna,  Belvedere  Gall.,  "  Calling  of  James  and  John,"  with 
fine  landscape,  signed  1515,  Marcus  Baxaitj,  F. 

Basili,  Pier  Angiolo,  born  at  Gubbio  (1550-1604).  Studied  first 
under  Felice  Damiani,  and  then  with  Christofano  Roncalli.  His 
style  resembled  that  of  the  latter  master,  but  was  more  delicate.  In 
the  ch.  of  S.  Mazziale  is  a  picture  of  "Christ  Preaching,"  with  a 
great  number  of  figures.  His  frescoes  in  the  cloister  of  S.  Ubaldo 
are  much  esteemed. 

Bassano,  Francisco  da  Ponte,  born  at  Vicenza,  1475;  died  at 
Bassano,  1530.  This  was  the  founder  of  the  family  of  Bazzano,  six 
of  whom  were  painters.  Francisco,  the  elder,  probably  studied  under 
Gio.  Bellini,  and  imitated  that  master  in  his  youth,  but  later  in  life 
he  worked  with  more  freedom  and  spirit.  His  u  S.  Bartholomew," 
in  the  Cath.  of  Bassano,  shows  his  early  manner ;  and  the  ' '  Descent 
of  the  Holy  Spirit,"  at  the  village  of  Oliero,  is  grand  in  composition, 
good  in  color  and  expression,  and  displays  his  later  excellence. 

Bassano,  Jacopo  da  Ponte,  born  at  Bassano  (1510-1592).  Son 
of  the  preceding.  He  studied  with  his  father,  and  afterwards  with 
Bonifazio  Veneziano.  But  he  gained  «much  of  his  knowledge  from 
studying  the  works  of  Titian,  and  copying  the  designs  of  Parmigiano. 
He  excelled  in  painting  landscape  and  animals,  and  introduced  the 
latter  into  almost  every  picture,  sometimes  with  marked  impropriety 
He  was,  perhaps,  the  earliest  Italian  genre  painter.  His  coloring 
was  good,  and  also  his  use  of  light  and  shade.  He  distinguished 
himself  as  a  portrait  painter,  and  painted  many  eminent  persons, 
among  them  the  Doge  of  Venice,  Ariosto,  and  Tasso.  He  had  four 
sons,  who  all  painted  with  him,  and  many  other  scholars,  so  the 
amount  of  work  completed  in  his  atelier  was  very  large.  His  latest 
pictures  are  by  far  the  best.  He  had  the  habit  of  concealing  the 
hands  and  feet,  which  injured  his  pictures  very  much.  His  works 
are  to  be  seen  almost  everywhere.  "  The  Entombing  of  Christ,"  in 
the  ch.  of  S.  Maria  in  Vanzo,  at  Papua;  "  A  Family  Concert,"  in 
the  Uffizi;  portrait  of  an  old  man,  Berlin  Mus.;  portrait  of  a  richly 
dressed  woman,  in  Studj  Gall.,  at  Naples;  "The  Mourning  Maries," 
at  Chiswick,  and  a  "  Nativity,"  at  the  Louvre,  are  some  of  his  larger 
works.  His  cabinet  pictures  are  very  numerous. 

Bassano,  Francisco  da  Ponte,  the  younger,  son  of  the  preceding, 
born  at  Bassano  (1548-1591).  Trained  in  the  school  of  his  father. 
He  established  himself  in  Venice.  Was  employed  to  paint  a  series 
of  pictures  representing  the  history  of  the  Republic,  on  the  walls  of 
the  public  palace,  and  one  of  his  best  works  is  on  a  ceiling  there. 
He  also  painted  for  the  churches  of  Venice.  He  became  melancholy, 
and  this  trouble  was  increased  by  his  over  application.  He  at  last 
jumped  from  a  window,  and  killed  himself. 


BASSANO  —  BASSI.  77 

Bassano,  Gio.  Batista  da  Foute,  born  at  Bassano  (1553-1613). 
Second  son  of  Jacopo.  Spent  most  of  his  time  in  copying  the  works 
of  his  father,  which  he  did  with  surprising  skill. 

Bassano,  Leandro  da  Fonte,  born  at  Bassano  (1558-1623). 
Third  son  of  Jacopo.  ExceUed  in  portrait  painting,  to  which  he 
confined  himself  during  his  later  years.  He  painted,  among  other 
distinguished  men,  the  Doge  Grimani,  who  made  him  a  knight. 
The  "  Raising  of  Lazarus,"  in  the  Louvre,  and  the  "  Birth  of  the 
Virgin,"  in  the  ch.  of  S.  Sophia,  at  Venice,  are  his  best  historical 
works. 

Bassano,  Girolamo  da  Ponte,  fourth  son  of  Jacopo,  born  at 
Bassano  (1560-1622).  He  spent  much  of  his  life  in  copying  the 
pictures  of  his  father,  which  he  did  so  well  that  the  copies  passed  at 
the  time,  and  since  then,  as  the  originals.  In  the  ch.  of  S.  Giovanni, 
at  Bassano,  there  is  an  original  picture  by  Girolamo,  of  "  S.  Barbara 
kneeling  before  the  Virgin." 

Bassen,  Bartholomew  van.  A  Flemish  artist  who  nourished 
from  1610  to  1630.  He  painted  interiors  of  churches,  and  other  pub- 
lic buildings.  The  figures  in  his  pictures  were  done  by  other  artists, 
and  he  in  turn  painted  the  architectural  portions  of  their  works. 
When  called  by  his  name  they  attract  little  notice,  but  are  sometimes 
attributed  to  the  painter  of  the  figures.  He  was  exact  in  perspective, 
and  good  in  coloring.  There  are  pictures  of  his  in  the  Berlin  Mus. 

Basseporte,  Frances  Magdalene,  died  about  1 780.  She  painted 
subjects  from  natural  history,  in  water  colors.  She  did  three  books 
of  flowers,  which  were  engraved  by  Avril.  She  also  engraved  some 
plates  for  the  Crozat  Coll.,  and  others,  among  which  are,  — 

The  Martyrdom  of  S.  Fidelio  de  Sigmaringa ;  after  P.  A .  Robert. 

Diana  and  Endymion  ;  after  a  design  by  Sebastiano  Conca. 

Bassetti,  Marc  Antonio,  born  at  Verona  (1588-1630).  There 
were  but  few  pictures  left  by  this  master,  for  he  believed  that  much 
time  should  be  given  to  each  one.  Those  he  finished  were  highly 
prized.  He  was  a  scholar  of  Felice  Riccio,  called  Brusasorci.  He 
also  studied  the  works  of  the  masters  in  Venice  and  Rome.  After 
his  return  to  Verona  he  painted  for  the  churches  and  public  edifices 
of  the  city,  but  was  cut  off  suddenly  by  the  plague. 

Bassi,  Antonio.  The  name  of  this  painter  occurs  in  the  history 
of  art  in  Ferrara,  and  some  of  his  works  may  still  be  seen  in  the 
churches  of  that  city. 

Bassi,  Francesco,  the  elder,  born  at  Cremona  (1642-1700). 
From  his  landscape  painting  he  was  called  "  II  Cremonese  da  Paesi." 
Many  of  his  works  are  in  the  private  collections  of  Venice. 

Bassi,  Francesco,  the  younger,  born  at  Bologna  (1664-1693). 
Scholar  of  Lorenzo  Pasinelli.  He  left  pictures  of  merit  in  the 
churches  of  Bologna.  One  of  "  S.  Antonio  taken  to  Heaven  by  An- 
<i»ls."  in  the  ch.  of  that  saint,  is  much  admired.  He  was  distin- 
guished for  his  copies  after  Guercino. 


78  BAST  —  BAUB. 

Bast,  Dominic  de,  born  at  Ghent,  1782.  An  amateur  painter  of 
landscapes,  cattle,  and  marine  subjects,  in  the  last  of  which  he  was 
said  to  excel.  His  works  are  mostly  in  the  private  collections  of 
Ghent,  but  one  was  purchased  in  1822  by  the  Commissioners  for  the 
Encouragement  of  Fine  Arts,  in  that  city. 

Bastaro,  Giuseppe  del,  born  at  Rome.  Flourished  in  the  time  of 
Urban  VIII.  His  pictures  may  be  seen  in  several  Roman  churches. 
In  S.  Maria  Maggiore  is  his  "  Assumption  of  the  Virgin,"  and  in  S. 
Girolamo,  a  "  Descent  from  the  Cross,"  and  "  The  Death  of  S. 
Jerome." 

Bastaruolo,  II.     See  Mazzuoli  Filippo,  or  Giuseppe. 

Batoiii,  or  Battoni,  Pompeo,  born  at  Lucca,  1702  ;  died  at  Rome, 
1787.  Pupil  of  Francesco  Fernandi.  He  was  a  contemporary  of 
Raphael  Mengs,  who  painted  mostly  in  Spain.  Batoni  excelled 
most  in  portrait  painting.  He  bestowed  much  labor  upon  the  hands, 
and  finished  cravats,  laces,  etc.,  etc.,  with  exquisite  care.  He  lived 
after  the  decline  of  Italian  art,  and  showed  a  desire  for  severer  study 
than  was  usual  with  artists  of  his  time.  Of  his  historical  pictures, 
the  "  Fall  of  Simon  Magus,"  in  the  ch.  of  S.  Maria  degli  Angeli,  at 
Rome,  deserves  to  be  mentioned.  In  the  ch.  of  S.  Maria  Maggiore 
there  is  an  altar-piece  representing  the  ' '  Annunciation ;  "  in  the  ch. 
of  S.  Girolamo,  a  "  Madonna,"  with  saints  and  angels  ;  in  the  pa- 
vilion at  Monte  Cavallo  there  are  five  pictures  by  this  artist,  one  of 
which  represents  "  Christ  giving  Peter  the  Keys,"  and  is  sometimes 
called  his  best  work.  Being  the  best  artist  of  his  day  in  Rome,  he 
was  constantly  employed,  and  his  works  were  well  esteemed  all  over 
Europe.  At  Hampton  Court  there  is  a  portrait  of  Gregory  XIV.  by 
Batoni,  and  in  the  Dresden  Gall,  a  "Magdalene,"  and  a  "  S.  John 
in  the  Wilderness."  These  last  are  good  specimens  of  his  works, 
and  display  pure  academic  arts  as  if  they  were  painted  but  to  show 
color  and  design. 

Baudet,  Stephen,  born  at  Blois,  1620;  died  at  Paris,  1691.  An 
eminent  engraver.  After  studying  in  Paris  he  went  to  Rome.  He 
used  only  the  graver,  at  this  time,  and  seems  to  have  imitated  Corne- 
lius Bloemart.  Upon  his  return  to  Paris  he  greatly  improved  his 
style  by  using  the  point  also.  He  was  a  member  of  the  Royal  Acad. 
His  choice  of  pictures  from  which  to  make  plates  was  excellent,  and 
were  those  of  some  of  the  best  painters  of  Italy. 

Bauduins,  Anthony  Francis,  born  at  Dixmude,  in  Flanders, 
1640  ;  died  at  Paris,  1700.  He  first  studied  painting  under  F.  A. 
Vandermeulen,  but  afterwards  became  an  engraver.  Most  of  his 
plates  were  from  the  designs  of  Vandermeulen,  and  were  etched  in  a 
bold  and  effective  style. 

Baur,  John  'William,  born  at  Strasbourg  (1600-1640). 
Pupil  of  Frederick  Brentel,  whom  he   soon    surpassed. 
He  went  to  Rome,  where  his  views  of  the  environs  of  the 
city  were  much  admired.     In  1637  he  went  to  Venice,  and  then  to 


BAUR  —  BAZZI.  79 

Vienna,  where  he  was  employed  by  Ferdinand  HI.  His  color  was 
superior  to  his  design.  He  acquired  some  celebrity  as  an  engraver. 

Baur,  Nicholas,  born  at  Harlingen  (1767-1820).  One  of  the  best 
modern  Dutch  painters  of  marine  views.  He  also  painted  landscapes 
and  views  of  cities,  and  frequently  represented  winter  and  moonlight 
scenes.  Many  of  his  works  are  in  private  houses  in  Holland,  and  the 
King  of  Holland  purchased  two  of  his  marine  views  for  the  Mus.  at 
the  Hague. 

Bausa,  Gregorio,  born  at  Mallorca,  near  Valencia  (1596-1656). 
Pupil  of  Francisco  Bibalta.  His  pictures  had  considerable  merit. 
At  Valencia,  in  the  ch.  of  S.  Philippe  of  the  Carmelites,  there  is  an 
altar-piece  representing  the  Martyrdom  of  the  Saint,  and  in  the 
monastery  of  Los  Trinitarios  Calzados  there  are  several  works  of  his. 

Bayeu  y  Subias,  Don  Francisco,  born  at  Saragossa  (1734-1795). 
He  first  studied  and  gained  the  prize  at  the  Acad.  in  his  native 
city.  Then,  a  pension  being  granted  him,  he  was  able  to  go  to 
Madrid,  where  he  studied  with  Antonio  Gonzales  Velasquez.  He 
painted  for  the  churches,  and  was  employed  by  Charles  III.  in  the 
Prado,  and  the  palaces  at  Aranjuez,  and  Madrid.  He  became  a 
member  of  the  Acad.  in  1765,  and  three  years  later  was  made  painter 
to  the  king.  Some  pictures  of  the  life  of  S.  Bruno,  at  the  Carthusians, 
are  among  his  best  works. 

Bayeu,  Don  Raymon,  born  at  Saragossa  (1746-1793).  Brother 
and  assistant  of  the  preceding. 

Bazin,  Nicholas,  born  at  Troyes,  1636.  Pupil  of  Claude  Mellan. 
He  executed  plates  of  historical  subjects  and  portraits  in  a  stiff,  dry 
manner. 

Bazzani,  Giuseppe,  born  at  Reggio  (1701-1769).  Pupil  of  Gio. 
Canti,  whom  he  surpassed.  Many  works  of  his  are  in  the  churches 
and  convents  of  Mantua  and  vicinity,  and  have  considerable  merit. 
At  the  time  of  his  death  he  was  director  of  the  Acad.  at  Mantua. 

Bazziacaluve  or  Bezziacaluva,  Ercole.  An  eminent  engraver 
of  Pisa  or  Florence,  who  flourished  about  1640. 

Bazzi  or  Razzi,  Gianantonio,  called  II  Soddoma  (1474-1549). 
Born  at  Vercelli,  he  seems  rather  to  belong  to  Siena,  for  he  settled 
there  and  became  one  of  the  best  painters  of  the  Sienese  school. 
His  mode  of  life  was  free  and  easy.  He  was  fond  of  animals,  and 
had  a  collection  of  them  always  about  him.  Queer  birds,  magpies, 
monkeys,  etc.,  were  always  in  his  house.  A  raven  who  imitated  him 
perfectly  in  voice,  and  manner  of  speech,  was  his  especial  pet.  His 
dress  and  whole  appearance  was  such  that  he  attracted  all  sorts  of  odd 
people  about  him,  and  was  not  over  fastidious  about  their  character. 
He  was  married  to  a  young  wife,  who  left  him  soon  after  the  birth  of 
a  daughter.  When  we  consider  his  peculiarities  it  is  a  surprise  that 
he  could  have  painted  such  women  as  he  did,  for  they  are  often  of  a 
remarkably  pure  and  noble  type.  His  conception  of  beauty  was  ex- 
traordinary, and  his  expression  of  deep  enthusiastic  feeling  not  less 


80  BAZZI  —  BEATRICI. 

so.  His  women  resemble  those  of  Leonardo,  under  whose  influence 
he  probably  came  in  youth;  he  was  also  familiar  with  the  Florentine 
art,  and  studied  the  works  of  Raphael  in  Rome.  He  became  vain 
and  careless  after  attaining  a  good  degree  of  fame,  and  painted  only 
from  the  force  of  whims,  or  need;  and  yet,  in  spite  of  his  careless  life, 
and  unequal  temperament,  his  genius  made  him  great.  In  1505  he 
painted  twenty-six  frescoes  in  the  convent  of  S.  Uliveto  Maggiore, 
near  Siena,  which  are  still  well  preserved.  They  represent  scenes  in 
the  life  of  S.  Benedict,  and  are  full  of  able  characterization  and  indi- 
vidualism. Soon  after  this,  Pope  Julius  II.  called  him  to  Rome  to 
paint  in  the  Vatican,  where  but  little  of  his  work  remains.  At  the 
Villa  Farnesina  there  are  two  fine  frescoes  which  he  did  for  the 
banker  Chigi.  They  represent  the  "  Marriage  of  Alexander  and 
Roxana,"  and  "  Alexander  in  the  Tent  of  Darius."  The  first  is  es- 
pecially beautiful;  warm  in  color,  exquisite  in  softness,  the  head  of 
Roxana  compares  well  with  some  of  Raphael's.  After  his  return  to 
Siena  he  put  new  life  into  its  art,  and  produced  some  of  his  best 
pictures.  Among  them  are  the  frescoes  which  he  did  in  connection 
with  Beccafumi  and  Girolamo  del  Pacchia  in  the  Oratorium  of  S. 
Bernardino;  figures  of  saints  in  a  chapel  of  S.  Spirito;  and  pictures 
of  S.  Caterina,  both  in  the  oratory  of  S.  Caterina  and  in  the 
chapel  of  S.  Caterina  in  S.  Domenico.  There  are  also  frescoes  of 
his  in  the  Palazzo  Pubblico.  In  the  Uffizi  there  is  a  panel  painting 
of  S.  Sebastian  which  is  one  of  the  best  works  of  this  time.  There 
are  also  a  few  other  fine  panel  pictures.  There  is  a  "  Resurrection  " 
in  the  Studj  Gall.,  at  Naples;  a  "  Scourging  of  Christ"  in  the  Acad. 
of  Siena,  which  has  been  transposed  from  the  wall  to  canvas;  the 
"  Sacrifice  of  Abraham  "  in  the  Campo  Santo  at  Pisa;  a  very  beauti- 
ful portrait  of  "  Lucrezia  "  which  belongs  to  M.  Comthur  v.  Kestner; 
and  lastly,  a  "  Dead  Christ  "  in  the  Berlin  Mus.,  and  a  "  Madonna  " 
in  the  Borghese  Pal.,  which  are  attributed  to  him.  The  "  Ecstasy 
of  S.  Caterina  "  at  S.  Domenico  is  especially  fine;  the  saint  is  repre- 
sented in  a  swoon,  Liibke  says,  "with  the  deepest  feeling  and  the 
noblest  expression  of  pain."  Razzi  is  sometimes  called  the  pride  of 
the  Sienese  school. 

Beale,  Mary,  born  in  Suffolk  (1632-1697).  A  good  portrait 
painter.  Pupil  of  Sir  Peter  Lely.  She  studied  the  works  of  Van- 
dyck,  whom  she  resembled  in  color.  Her  pictures  were  much  sought 
by  the  distinguished  persons  of  her  time. 

Beale,  Charles.     Husband  of  the  preceding,  and  a  painter,  but  of 
no  celebrity. 
Ty-p)    -v  y-\  j          Beatrici,   Niccolo,   born    at   Thionville    about 

1 N3     J\J_Lj   1500'     Early  in  life  he  went  to  Rome--  and  his 
plates  show  that  he  was  there  from  1532  to  1562. 

He  is  supposed  to  have  studied  under  Agostino  Veneziano,  called  De 
Musis.  The  works  of  Beatrici  are  not  equal  to  those  of  the  master. 


IIKAD  OP  ROXANA,    FROM  THE   FRESCO  OF    "ALEXANDER'S  MARRIAGE,"    BTf 
IL  SODDOMA,    IN  THE   FAUNESINA,    ROME. 

6 


BEATRICI  —  BECCAFUMI.  83 

His  subjects,  however,  were  excellent,   and  his  plates  have  been 
valued  on  that  account.     His  prints  are  somewhat  numerous. 

Beaumont,  Claudio,  born  at  Turin  (1694-1766).  After  studying 
at  Turin  he  went  to  Rome  and  spent  some  time  in  copying  the  works 
of  Raphael,  the  Caracci  and  Guido.  He  admired  Trevisani  and 
imitated  him  in  execution  and  color.  Returning  to  Turin,  he 
became  distinguished,  was  employed  by  the  King  of  Sardinia,  and 
by  him  knighted.  He  decorated  several  apartments  in  the  royal 
palace.  A  fine  "  Descent  from  the  Cross,"  by  Beaumont,  is  in  the 
Chiesa  della  Croce.  His  pictures  should  be  judged  in  comparison 
with  others  of  his  own  time.  Many  other  eminent  foreign  artists 
were  employed  by  the  court  in  competition  with  Beaumont.  He  re- 
modelled the  Turin  Acad.  and  extended  it  to  all  branches  of  art, 
under  the  name  of  the  Royal  Acad. ,  and  from  that  time  the  cultiva- 
tion of  the  fine  arts  increased.  The  name  of  Beaumont  is  deservedly 
respected  in  his  native  city. 

Beaumont,  George  Rowland  (1 753-1827).  An  English  baronet, 
an  amateur  painter  and  a  pupil  of  Wilson.  He  painted  landscapes 
respectably.  He  liked  richly  glazed  foregrounds,  but  light  and  silvery 
skies.  His  wood  scenes  resemble  those  of  Ruysdael.  Beaumont 
was  a  liberal  patron  of  artists,  and  was  much  associated  with  them. 

Beauvais,  Nicholas  Dauphin  de,  born  at  Paris  about  1687. 
Pupil  of  John  Audran.  His  engravings  are  held  in  good  estimation. 

Beauvarlet,  James  Firmin,  born  at  Abbeville,  1733.  Cele- 
brated engraver.  Pupil  of  Charles  Dupuis  and  Lawrence  Cars  at 
Paris.  His  earlier  plates  are  bold  and  free,  while  the  later  ones  are 
finished  with  groat  neatness  and  delicacy. 

Beccafumi,  Domenico,   called  Meccherino,  born   at 

t  j)  4  Siena  (1484-1549).  He  was  a  shepherd  boy,  and 
' \  J  accustomed  to  sketch  upon  stones  while  watching  his 
flock.  This  attracted  the  attention  of  one  Meccherino, 
who  obtained  his  father's  consent  that  he  should  study  under  a 
master  in  Siena.  Capanna  was  his  instructor.  He  copied  the  de- 
signs of  various  masters,  and,  at  first,  adopted  the  manner  of 
Pemgino.  He  afterwards  went  to  Rome,  and  studied  antiques,  as 
well  as  the  works  of  Michael  Angelo  and  Raphael.  Returning  to 
Siena,  he  competed  with  Razzi,  next  to  whom  he  was  ranked  by  the 
Sienese.  His  earlier  works  had  more  beauty  and  grace  than  those 
of  his  later  years.  His  color  was  cheerful  and  pleasing,  and  of  such 
a  body  that  his  pictures  have  endured  the  test  of  time  better  than 
many  others.  He  used  to  say  that  he  could  not  paint  out  of  Siena, 
and  his  works  are  numerous  there  both  in  public  and  private  collec- 
tions. He  painted  better  in  distemper  than  in  oils.  His  frescoes  in 
the  oratory  of  S.  Bernardino  were  fine.  In  the  Acad.  of  Siena  there 
is  a  picture  by  him  of  "  S.  Catherine  receiving  the  Stigmata,"  which 
is  one,  of  his  best  easel  pictures.  He  also  did  some  works  in  sculpture 
and  engraving,  and  we  have  a  number  of  prints  by  him.  One  of  his 


84  BECCAFUMI  —  BP:ECHEY. 

most  interesting  later  works  was  the  pavement  of  the  Cath.  of  Siena 
executed  in  mosaic.  This  has  been  engraved  by  Andrea  Andreani. 
One  of  his  points  of  excellence  was  the  power  to  suit  his  composi- 
tions well  to  the  style  of  the  architecture  by  which  they  were  sur- 
rounded, and  to  ornament  them  with  grotesque  designs,  so  that  they 
required  no  gilt  stucco,  etc.,  etc.  He  loved  the  reflections  of  fires, 
and  other  lights,  and  was  more  learned  in  the  principles  of  art  than 
most  artists  of  his  time.  He  also  understood  foreshortening,  espe- 
cially on  ceilings.  He  sought  strength  and  dignity  in  his  figures,  and 
even  his  small  pictures  appear  larger  than  they  are  for  this  reason. 
He  was  an  upright  man  of  solitary  habits.  His  memory  was  cher- 
ished by  the  Sienese,  and  honored  by  their  poets. 

Beccaruzzi,  Francesco,  born  at  Conigliano  in  the  Frioul. 
Scholar  of  Pordenone.  He  painted  reputably  both  in  oil  and  fresco. 
Many  of  his  pictures  are  in  the  churches  and  convents  of  Trevigi. 
One  of  his  best  works  was  a  "  S.  Francis  receiving  the  Stigmata," 
painted  for  the  Franciscans  of  Conigliano. 

Becerra,  G-aspar,  born  at  Baiza  in  Andalusia,  1520  ;  died  at 
Madrid,  1570.  One  of  the  great  fresco  painters  of  Spain;  also  an 
architect  and  sculptor.  It  is  difficult  to  say  whether  he  was  most 
celebrated  for  his  pictures  or  his  figures.  He  was  a  close  student  of 
anatomy  and  made  plates  for  a  work  on  that  subject,  and  also  de- 
signed anatomical  figures  for  the  use  of  artists.  He  studied  in  Rome, 
and  returning  to  Spain,  was  made  sculptor  and  painter  in  ordinary  to 
Philip  II.  Perhaps  his  most  celebrated  production  was  an  image  of 
the  Virgin  made  for  Queen  Isabel  de  la  Paz.  He  had  already 
made  two  which  did  not  please  the  Queen,  when,  as  he  sat  one  night 
over  his  work,  he  fell  asleep,  and  was  awakened  suddenly  by  a  voice, 
saying,  "  Awake,  and  arise,  and  out  of  that  log  of  wood  blazing  on 
the  hearth,  shape  the  thought  within  thee,  and  thou  shalt  obtain  the 
desired  image."  He  did  so,  and  having  quenched  the  burning  stick, 
began  at  dawn  to  work.  The  statue  grew  rapidly,  and  became  a 
miraculous  image,  and,  draped  in  widow's  weeds,  was  placed  in  a 
chapel  devoted  to  her  by  the  Minim  Fathers  at  their  convent  in 
Madrid,  to  whom  she  brought  much  gain.  This  image  is  known  as 
"  Nuestra  Senora  de  la  Soledad."  It  disappeared  during  the  war  of 
independence.  The  most  important  work  of  this  master  was  the 
high  altar  in  the  Cath.  of  Astorga,  which  was  composed  of  many 
bas-reliefs  and  figures.  It  cost  30,000  ducats,  11,000  of  which  made 
the  share  of  Becerra.  Many  works  of  this  master  are  in  the  public 
edifices  of  Madrid,  Astorga,  and  Zamora. 

Beechey,  Sir  William,  born  at  Burford  in  Oxfordshire,  1772; 
died  at  Hampstcad,  1839.  Portrait  painter  to  the  Queen,  appointed 
in  1793.  He  was  made  a  knight  by  George  III.  for  his  picture,  now 
at  Hampton  Court,  which  represents  the  king  reviewing  troops.  In 
sixty-four  years  he  exhibited  362  portraits  at  the  exhibitions  of  the 
Royal  Acad. 


BEECK  — BEGA.  85 

Beeck,  Jan,  born  at  Looz  ;  died,  1516.  A  monk  who  became 
abbot  of  the  convent  of  S.  Lawrence  near  Liege.  He  painted  the 
largest  part  of  the  pictures  of  his  convent,  and  is  considered  next  to 
the  brothers  Van  Eyck,  among  the  old  painters  of  Liege. 

Beek,  David,  born  at  Arnheim  (1621-1656).  One  of  the  ablest 
pupils  of  Vandyck,  whom  he  assisted  until  his  death,  painting  an  im- 
portant part  in  some  pictures,  and  the  whole  of  others,  after  the 
designs  of  the  master.  He  went  to  England,  where  he  was  patron- 
ized by  Charles  I. ,  and  instructed  the  Prince  of  Wales  and  Duke  of 
York  in  drawing.  After  some  years  in  England  he  went  to  Sweden, 
and  was  appointed  principal  painter  and  chamberlain  to  Queen 
Christina.  In  spite  of  his  honors  he  longed  for  Holland,  and,  at 
length  obtained  permission  to  go  there  under  promise  to  return  to 
Sweden  ;  but  his  love  for  his  home  prevented  his  keeping  this  prom- 
ise, and  he  died  at  the  Hague. 

Beeldemaker,  John,  born  at  the  Hague,  1636.  A  painter  of 
hunting  scenes.  Many  of  his  pictures  are  in  England.  He  handled 
his  subjects  with  much  spirit. 

Beeldemaker,  Francis,  born  at  the  Hague  (1669-1717).  Son 
of  the  preceding,  with  whom  he  first  studied.  He  next  painted  with 
William  Doudyns,  and  at  length  went  to  Rome.  After  some  years 
spent  in  Italy  he  returned  to  Holland,  and  painted  portraits  and  his- 
torical pieces  which  were  much  admired.  He  was  a  member  of  the 
Acad.  at  the  Hague. 

Beerstraateii,  Alexander.  This  artist  lived  in  the  1 7th  century, 
but  there  is  nothing  known  of  his  life.  One  of  his  pictures  is  in  the 
New  York  Metropolitan  Mus.  of  Art,  and  represents  "  De  Schreyer- 
storen  "  at  Amsterdam. 

Bega,  Cornelius,  born  at  Haerlem  (1620-1664).  A  pupil  of 
Adrian  Ostade.  He  painted  the  same  class  of  pictures  as  his  mas- 
ter, though  in  a  different  manner.  He  excelled  Ostade  in  drawing, 
but  fell  below  him  in  feeling  for  color,  and  management  of  light. 
No.  17,  Amsterdam  Mus.,  is  one  of  his  best  works,  and  represents  a 
village  fete,  with  music  and  drinking.  No.  13,  Louvre,  representing 
a  peasant  and  wife  at  table,  is  cooler  in  color  than  the  former,  and 
more  in  his  usual  manner.  His  pictures  are  found  in  the  choicest 
collections.  He  also  left  more  than  thirty  etchings,  executed  with 
much  ingenuity  and  spirit,  with  a  coarse,  but  firm,  graver.  His  real 
name  is  said  to  have  been  Begeyn,  but  in  youth  he  so  displeased  his 
father  by  his  reckless  mode  of  life,  that  he  was  disowned,  and  as- 
sumed the  name  by  which  he  is  now  known.  At  the  time  of  his  death 
he  was  about  to  marry  a  young  girl  to  whom  he  was  devotedly 
attached.  She  was  seized  with  the  plague  which  visited  Holland  in 
1664.  Every  one  abandoned  her,  fearing  infection,  but  Bega  would 
not  leave  her,  and  gave  her  the  most  devoted  attention  to  the  last, 
when,  having  taken  the  disease,  he  also  died. 


8  6  BEGARELLI  —  BEH  AM. 

Begarelli,  Antonio,  called  Antonio  da  Modena,  born  at  Modena 
(1499-1565).  A  modeller  in  clay.  A  pupil  of  Gio.  Abati.  He  was 
associated  with  Correggio  in  the  decoration  of  the  cupola  at  Parma, 
and  made  many  models  from  which  that  artist  painted  his  floating 
figures.  These  artists  were  the  best  of  friends,  and  resembled  each 
other  in  their  conceptions  of  the  grand  and  beautiful.  In  1529 
Michael  Angelo  met  Begarelli  in  Modena,  and  saw  his  works.  It  is 
said  that  he  exclaimed,  "  Alas  for  the  statues  of  the  ancients,  if  this 
clay  were  changed  into  marble ! ' '  Begarelli  was  an  instructor  in 
design  and  modelling,  and  greatly  influenced  the  painting  of  the 
Lombard  school.  To  him  may  be  traced  in  a  measure  its  excellence 
in  design,  especially  its  art  of  foreshortening,  and  its  relief  and 
grace,  which  often  approaches  that  of  Raphael.  The  works  of  Be- 
garelli are  in  the  Berlin  Mus. 

Begas,  Charles,  born  at  Heinsberg  (1794-1854).  While  at  the 
University  of  Bonn  he  received  some  instruction  in  painting.  He 
went  to  Paris  and  studied  under  Gros.  He  attracted  the  attention  of 
the  King  of  Prussia  in  1815,  and  received  an  allowance  with  which 
to  visit  Italy.  In  1825  he  went  to  Berlin  and  became  a  professor  in 
the  Acad.  of  Arts.  He  painted  portraits  of  Schelling,  Humboldt, 
etc.;  and  various  religious  subjects,  among  which  are  the  "Descent 
of  the  Holy  Spirit  ;"  the  "  Transfiguration  ;  "  "  Christ  bearing  his 
Cross,"  etc. 

Begyn,  Abraham,  Dutch  painter,  born  in  1650.  Painted  land- 
scapes and  cattle  in  the  style  of  Nicholas  Berghem.  His  pictures 
are  justly  admired.  He  painted  in  a  light,  free  manner,  and  his 
coloring  is  agreeable. 

Beham,  Bartel,    born    at  Nuremberg,    1496  -; 

-r-*i  r^-HJj  died  in  ^aly,  1540.  A  painter,  but  more  cele- 
>|  \  "*>  [BJP  brated  as  an  engraver.  Pupil  of  Albert  Diirer. 
He  gave  so  much  promise  of  excellence  that  Duke 
Wilhelm  of  Bavaria  sent  him  to  study  in  Italy.  His  early  pictures 
were  much  in  the  style  of  Diirer,  realistic,  broad  and  crude  in  color. 
A  "  Christ  bearing  his  Cross,"  in  the  chapel  of  S.  Maurice,  and 
"  Christ  on  the  Mt.  of  Olives  "  in  the  Berlin  Gall,  are  of  this  time. 
When  in  Italy  he  attempted  to  change  his  manner,  but  without  much 
success.  No.  2,  Munich  Gall.,  representing  ' '  A  Woman  raised  from  the 
Dead  by  the  True  Cross,"  is  a  remarkable  picture.  No.  98,  same  Gall., 
represents  "  Marcus  Curtius  leaping  into  the  Gulf,"  and  is  injured  by 
too  much  antique  architecture.  In  the  Gall,  at  Schleissheim,  a  number 
of  portraits  show  his  excellence  in  that  department  of  painting.  He 
studied  engraving  under  Marc  Antonio  Raimondi,  and  was  one  of  the 
most  successful  imitators  of  that  artist.  His  drawing  was  that  of  a 
master,  and  his  heads  are  fine  in  expression.  Many  of  his  plates  have 
no  mark,  and  this  has  occasioned  some  difficulty  in  designating  them. 
His  signature  was  BB,  and  the  prints  that  have  it  are  dated  from  1520 


BEHAM.  87 

to  1533.  His  portraits  of  the  Emperors  Charles  V.  and  Ferdinand  I. 
are  well  known  for  their  masterly  conception  and  execution.  The 
following  are  a  part  of  his  prints  :  — 

Portrait  of  William,  Duke  of  Bavaria. 

Bust  of  Erasmus  Balderman.    1535. 

Bust  of  Leonard  Van  Eck. 

Adam,  Eve,  and  Death  before  a  Tree. 

Judith  sitting  on  the  body  of  Holofernes.     1525. 

The  Virgin  suckling  the  Child;  very  fine. 

A  Sibyl  reading  and  a  Boy  holding  a  Torch.     BB. 

Susanna  before  the  Elders ;  after  Giulio  Romano. 

Lucretia. 

Cleopatra.     1520. 

The  Judgment  of  Paris. 

The  following  prints  are  marked  with  a  B.  on  a  die,   thus; 
and  have  sometimes  been  attributed  to  N.  Beatrici,  but  are    [  B  | 
now  called  those  of  Beham. 

Apollo  causing  Marsyas  to  be  flayed ;  after  Raphael. 

Christ  giving  his  charge  to  S.  Peter;  after  the  same. 

A  Naval  Combat. 

A  Landscape,  with  animals  about  a  tree,  at  the  top  of  which  a 
Phoenix  is  burning  her  nest. 

Four  Friezes,  with  Boys  playing  and  Festoons  of  Flowers;  RAPH. 
V  R  B.  IN.     Ant.  Laferiiformis. 

The  two  following  have  the  die  without  the  letter  B. 

Apollo  and  the  Python. 

Apollo  and  Da  pi  inc. 

Beham,  Hans  Sebald,  born  at  Nurem- 
berg, 1500  ;  died  at  Frankfort,  1550.  Nephew 
Of  the  preceding,  from  whom  he  received  his 
earliest  instruction.  He  afterwards  studied  with  Albert  Diirer. 
His  bad  habits  compelled  him  to  leave  Nuremberg  in  1540,  when  he 
settled  in  Frankfort.  He  often  painted  humorous  subjects,  and 
sometimes  those  that  were  vulgar  and  indecorous.  He  was  a  good 
draughtsman,  had  singular  powers  of  invention,  and  was  not  wanting 
in  feeling  for  beauty  and  grace.  His  only  oil  picture  now  known  is 
in  the  Louvre.  It  represents  scenes  from  the  life  of  David,  and  was 
executed  for  Albrecht,  Archbishop  of  Mayence,  in  the  form  of  a 
table,  in  1534.  He  also  executed  five  miniatures  in  a  prayer-book 
for  the  same  ecclesiastic.  These  are  in  the  royal  library  at  Aschaff'en- 
burg,  and  prove  his  skill  in  this  line  of  art.  He  was  more  important 
as  an  engraver  than  painter,  and  belonged  to  what  are  called  "  the 
little  masters."  We  have  no  better  examples  of  the  manners  and 
mslonis  of  his  time  than  his  "  Triumphal  Entry  of  Charles  V.  into 
Munich,"  and  two  processions  of  soldiers  by  him.  His  wood-cuts 
were  free  and  spirited.  His  copper-plates  are  executed  entirely 


88  BEHAM  —  BEICH. 

with  the  graver,  and  are  neatly  done.  From  1519  to  1530  he 
marked  his  plates  with  the  letters  H.  S.  P.  From  1531  to  1549  he 
used  H.  S.  B.  His  copper-plates  are  very  numerous.  The  follow- 
ing are  a  few  of  them:  — 

Plates  with  the  first  cipher  which  were  engraved  at  Nuremberg 
from  1510  to  1530:  — 

Portraits  of  Hans  Sebald  and  his  wife;  the  cipher  with  a  wreath  of 
laurel  in  the  middle  ;  engraved  also  by  Hollar. 

Adam  and  Eve  in  Paradise  ;  two  small  plates.     1519. 

S.  Jerome  with  a  cardinal's  hat,  and  a  Lion.     1519. 

The  Virgin  suckling  the  Child.     1520. 

The  Virgin  with  a  Glory,  standing,  holding  the  Child.     1520. 

The  death  of  Dido;  Regince  Didonis  imago.     1520. 

S.  Anthony,  Hermit,  writing.     1521. 

Plates  with  the  second  cipher  which  were  engraved  at  Frankfort. 
1531  to  1549:  — 

Adam  and  Eve,  a  Stag  behind  them.     1536. 

Adam  and  Eve  in  Paradise;  the  Serpent  presenting  the  Apple; 
very  fine. 

The  Emperor  Trajan  listening  to  the  Mother's  complaint  against 
his  Son.  1537. 

Melancholy;  inscribed,  Melancolia  •  1539;  after  Albert  Dtirer. 

Fortuna;  a  woman  holding  a  Wheel.     1541. 

A  Man  trying  to  pull  up  a  Tree;  inscribed,  Impossible.     1549. 

Twelve  small  plates  of  the  labors  of  Hercules;  inscribed,  JErumnce 
Herculis.  1542  to  1548. 

The  Judgment  of  Paris;  Judicium  Paridis ;  1546;  fine. 

Death  seizing  a  young  Woman;  Omnem  in  homine,  etc.;  1547;  fine. 

Wood-cuts,  marked  sometimes  with  one,  and  again  with  the  other 
of  his  two  ciphers :  — 

Portrait  of  Beham  with  a  Cap. 

Eight  prints  of  the  Passion  of  Christ. 

S.  Jerome  with  a  Book  and  Crucifix. 

A  Village  Fair,  with  a  Steeple  and  Clock;  large  frieze;  very 
scarce. 

A  March  of  Soldiers,  large  frieze,  in  four  sheets;  very  scarce. 

Biblicse  Historic,  848  prints;  most  of  them  with  figures  on  both 
sides. 

The  Baptism  of  the  Anabaptists ;  circular,  scarce. 

The  same  subject;  large,  four  sheets;  very  scarce. 

Behnes,  William  (1801-1864).  An  English  sculptor,  distin- 
guished particularly  for  his  busts.  In  1820  he  gained  the  silver  medal 
for  the  best  model  from  life. 

Beich  or  Beisch,  Franz  Joachim,  born  at  Munich  (1663-1748). 
He  was  first  a  pupil  of  his  father,  Wilhelm  Beich,  then  went  to 
Italy,  where  he  became  an  imitator  of  Gaspar  Poussin.  But  he  is  not 


BEICH  —  BELLINI.  89 

an  imitator  merely,  for  he  was  himself  inspired  by  nature.  Kugler 
says:  "He  takes  the  first  place  among  the  painters  of  ideal  ten- 
dency." He  was  court  painter  to  the  Elector  of  Bavaria,  and  his 
best  works  are  in  the  electoral  palaces.  He  excelled  in  landscapes 
and  battle  scenes.  While  some  of  his  pictures  have  the  darkness 
and  heaviness  of  color,  which  was  the  fault  of  his  time,  others  are 
transparent  and  warm  in  tone.  Two  landscapes  in  the  Vienna  Gall., 
which  are  excellent  in  many  ways,  fail  in  color  ;  but  in  the  Munich 
Gall,  the  opposite  is  true  of  Nos.  138,  162,  and  171.  We  have  also 
four  sets  of  plates,  twenty-six  in  all,  etched  by  Beich.  They  are  of 
landscapes,  with  figures  and  buildings,  and  are  executed  with  facility 
and  spirit. 

Beinaschi.     See  Benaschi. 

Belcamp  or  Belkamp,  Jan  Van.  A  Dutch  painter  who  was  much 
employed  in  England  in  copying  the  pictures  in  the  royal  college. 

Bella,  Stefano  Delia,  born  at  Florence, 
(1610-1664).  Son  of  a  goldsmith,  and  in- 
tended for  his  father's  profession,  he  showed 
snrli  a  talent  Inr  drawing,  that  he  was  placed  with  Cesare  Dandini  to 
learn  painting.  But  he  had  so  great  a  preference  for  engraving  that 
he  was  allowed  to  study  with  Canta  Gallina,  master  of  Callot.  Per- 
haps no  one  has  handled  the  point  with  more  facility  than  Bella. 
The  number  of  his  prints  exceeded  1,400,  so  it  is  not  strange  that  some 
of  them  are  slightly  etched;  but  he  designed  with  great  taste,  and  his 
plates  are  brilliant  in  effect.  In  1642  he  went  to  Paris.  Card. 
Richelieu  employed  him  to  make  plates  of  the  siege  and  taking  of 
Arras.  He  also  made  some  plates  for  Henrich,  the  uncle  of  Israel 
Silvestre.  When  he  returned  to  Florence  he  was  appointed  to  in- 
struct the  son  of  the  Grand  Duke  in  drawing,  and  received  a  pension. 

Belle,  Clement-Louis-Marie-Anne,  born  at  Paris  (1722-1806). 
Studied  under  Lemoyne,  and  later  in  Italy.  His  subjects  were 
religious  and  poetical.  He  was  an  academician,  and  inspector  of 
the  royal  manufactories  at  the  Gobelins. 

Belle,  Augustine-Louis,  born  at  Paris  (1757-1831).  Son  of  the 
preceding,  and  his  assistant  at  the  Gobelins.  He  painted  many 
pictures  of  subjects  from  sacred  and  profane  history,  and  the  ancient 
poets. 

Belle,  Nicholas-Simon-Alexis  (1674-1734).  Scholar  of  F.  de 
Troy.  An  eminent  portrait  painter. 

Bellevois,  died  at  Hamburg,  1684.  A  painter  of  marine  subjects. 
His  works  are  in  many  collections  in  Flanders,  and  have  considerable 
merit. 

Bellini,  Jacopo,  born  at  Venice  (about  1405-1470).  A  pupil  of 
(ientilc  Fabriano,  with  whom  he  went  to  Florence  in  1422.  At  that 
time  all  strangers  who  settled  in  Florence  were  observed  jealously 
and  regarded  as  intruders.  One  day  a  company  surrounded  the 


90  BELLINI. 

shop  of  Fabriano  and  threw  in  stones.  Jacopo  was  sent  out  to  drive 
them  off,  and  came  to  blows  with  one  Bernardo  di  ser  Silvestri,  a 
son  of  a  notary.  This  young  man  was  determined  on  revenge,  and 
Jacopo,  fearing  trouble,  left  Fabriano,  and  "  took  service  on  board 
of  the  galleys  of  the  Florentine  States."  Bernardo  went  before  a 
judge  and  preferred  charges  against  Jacopo,  and  he  was  summoned 
to  appear,  which  failing  to  do,  he  was  sentenced  to  a  fine.  After  a 
year  he  returned  to  Florence,  ignorant  of  what  had  been  done.  In  a 
few  days  he  was  seized  for  contempt  of  the  court,  and  sent  to  the 
Stinche.  While  there  he  compromised  with  Bernardo,  and  promised 
to  pay  him  twenty-five  small  florins,  and  to  submit  to  an  act  of  pen- 
ance. This  was  performed  on  the  8th  of  April,  1425,  when  he 
marched  bareheaded,  surrounded  by  a  guard,  to  the  Baptistery  of  San 
Giovanni,  where  it  was  proclaimed  by  sound  of  trumpet,  that  Jacopo 
had  come  to  do  penance,  for  having  shown  contempt  of  Florentine 
law.  This  ceremony  ended,  he  was  set  at  liberty.  From  this  time 
there  is  much  uncertainty  respecting  Jacopo.  His  master  gave  him 
no  assistance  in  the  time  of  his  trial.  We  know  that  Jacopo  painted 
the  portrait  of  Fabriano,  and  that  Fabriano  held  the  first  child  of 
Jacopo  at  the  font  ;  but  the  dates  of  these  occurrences  are  not 
known.  The  only  certain  thing  is,  that  Jacopo  was  in  Venice  in 
1430,  as  is  proved  by  his  sketch-book.  This  book,  after  passing 
through  many  hands,  is  now  in  the  British  Mus.  It  has  99  pages, 
17  by  13  inches.  The  drawings  are  done  in  pencil,  tinted  with  green 
earth  in  water-colors,  and  sometimes  retouched  with  pen  and  ink. 
Many  of  the  sketches  are  very  imperfect.  In  this  book  we  are  intro- 
duced to  the  very  innermost  artistic  life  of  Jacopo.  It  has  sketches 
of  almost  everything.  Still  and  animal  life,  nature,  ancient  sculp- 
ture, buildings,  and  human  figures  are  all  there.  Nothing  seemed  too 
small  for  his  study.  Some  subjects  are  several  times  repainted,  rear- 
ranged, and  brought  to  the  perfection  of  his  manner.  The  stories  of 
Judith  and  Holofernes,  of  David  and  Goliath,  many  New  Testament 
histories,  the  wonders  of  the  hagiology  and  those  of  mythology  all  find 
a  place.  In  contrast  with  these  are  studies  of  apes,  eagles,  dogs,  cats, 
village  scenes,  hawking  parties,  etc.,  etc.  The  student  of  art  delights" 
in  this  book,  and  understands  the  feeling  which  led  Gentile  Bellini 
to  leave  it  an  heir-loom  in  his  family,  in  order  to  perpetuate,  as  noth- 
ing else  could,  the  remembrance  of  his  father.  In  his  time  artists 
were  not  masters  of  anatomy  and  motion,  and  for  that  reason  the 
drawing  of  Bellini  is  the  more  admirable.  He  attained  a  middle 
place  between  the  conventionalism  of  art  which  preceded  him,  and 
the  naturalistic  art  which  followed  him.  He  worthily  commenced 
what  his  son  Giovanni,  and  Titian  perfected.  It  is  scarcely  possible 
to  judge  of  Jacopo  Bellini  as  a  colorist,  for  the  two  panel  pictures 
which  remain  to  us  are  greatly  injured.  One  of  these  is  a  small 
half-leno-th  of  the  "  Madonna  and  Child,"  at  Lovere,  in  the  Coll. 


BELLINI.  91 

of  the  Counts  Tadini.  The  other,  No.  443,  Acad.  of  Venice,  repre- 
sents the  same  subject.  These  are  injured  by  scaling  and  blackened 
by  time.  Of  his  wall  pictures,  it  is  believed  that  some  remain  at 
Venice,  but  those  of  Verona  are  better  known.  That  of  the  "  Cru- 
cifixion," in  the  Arch-episcopal  Pal.,  fully  illustrates  the  style  of  this 
master.  A  copy  of  another  "  Crucifixion,"  in  the  Cath.  of  Verona, 
is  in  the  Casa  Albrizzi  at  Venice.  The  arrangement  is  little  changed 
from  that  in  his  sketch-book,  and  these  works  served  as  models 
to  the  artists  who  followed  him,  especially  Antonello  of  Messina, 
Carpaccio,  and  Mantegna.  Of  his  other  works,  there  is  a  small 
**  Christ  in  Limbus,"  in  the  Communal  Gall,  of  Padua,  much  in- 
jured ;  at  S.  Zaccaria,  Venice,  some  frescoes  in  the  dome  of  the 
Chapel  of  S.  Terasio,  much  abraded  and  blackened  ;  and  a  picture 
of  a  "  Dominican  Friar,  preaching  in  a  Square,"  in  the  Oxford  Mus. 
This  last  was  probably  the  work  of  some  one  in  his  atelier,  and  is 
a  panel  on  gold  ground.  It  is  known  that  Jacopo  dwelt  for  a  time 
in  Padua,  and  there  had  a  work-shop  in  which  his  sons  assisted  him ; 
that  his  daughter  Nicolosia  married  Andrea  Mantegna,  and  that  he 
painted  pictures  and  frescoes  in  that  city,  one  of  which  was  done  in 
1459.  It  is  believed  that  he  induced  Mantegna  to  study  Donatello 
and  Uccelli,  and  thus  greatly  influenced  the  style  of  the  gifted 
Paduan,  and  that  he  himself  was  affected  by  contact  with  that  of 
Donatello.  Jacopo  also  painted  portraits,  one  of  which  Ridolfi  noticed 
especially,  that  of  the  King  of  Cyprus,  who  was  beheaded  at  Venice. 
Although  Jacopo  was  greatly  surpassed  by  his  sons,  he  was  a  re- 
markable man  for  his  time,  and  deserves  to  be  remembered  for  pre- 
paring the  way,  and  making  it  easier  to  those  who  followed. 

Bellini,  Gentile,  eldest  son  of  the  preceding,  born  at  Venice 
(1421  V-1507).  After  laboring  with  his  brother  Giovanni  in  the 
atelier  of  their  father,  at  his  death  they  declared  their  perfect  inde- 
pendence of  each  other,  but  continued  to  labor  together,  and  shared 
the  respect  of  their  countrymen  and  the  laurels  which  they  won. 
The  study  of  Jacopo  and  of  his  master,  Fabriano,  was  of  great  value 
to  them,  out  they  progressed  far  beyond  both,  and,  together,  laid  the 
foundation  for  the  perfect  style  of  Titian  and  his  followers.  Giovanni 
was  the  most  excellent,  and  Gentile  was  called  "  clumsy  "  by  later 
Venetians.  But  he  did  a  noble  work  in  teaching  them  the  value  of  a 
thoughtful  imitation  of  nature.  •  In  1464  Gentile  painted  the  doors  of 
the  great  organ  of  S.  Marco.  He  represented  four  gigantic  saints. 
These  are  now  in  a  Gall,  leading  from  S.  Mark's  to  the  Ducal  Pal. 
Gentile  was  often  employed  as  a  portrait  painter.  Of  his  works  of 
this  kind  I  shall  only  mention  No.  136,  Gall,  of  the  Capitol,  Rome; 
one  in  the  University  Gall.,  Oxford,  of  two  boys  in  profile;  Correr  Mus., 
Venice,  No.  14,  and  one  of  Lorenzo  Giustiniani,  now  in  the  lumber 
room  of  the  Acad.  of  Venice.  In  1474  he  was  appointed  to  restore 
the  old,  and  paint  new  pictures  in  the  great  council-chamber  of 


92 


BELLINI. 


Venice.  His  works  there  gained  him  much  reputation.  In  1479  Sul- 
tan Mehemet,  the  conqueror  of 
Constantinople,  sent  to  the  Signo- 
ria  of  Venice  for  a  good  painter. 
The  Doge  decided  to  send  Gentile 
Bellini,  and  he  was  dispatched 
with  two  journeymen,  in  galleys 
belonging  to  the  state.  In  Con- 
stantinople Gentile  was  treated 
with  great  consideration,  and  made 
many  portraits  of  notable  person- 
ages. At  one  time  he  presented 
the  Sultan  with  a  picture  of  the 
head  of  John  the  Baptist  in  a 
charger.  The  Sultan  criticised  the 
painting  of  the  neck,  and  when  he 
saw  that  Gentile  did  not  under- 
stand his  mistake,  he  called  in  a 
slave,  and  had  his  head  instantly 
struck  off,  to  prove  to  the  artist 
what  was  the  true  action  of  the 
muscles  under  such  circumstances. 
Such  an  act  did  not  tend  to  make 
Bellini  enjoy  his  residence  in  the 
domains  of  Mehemet  II.  He  re- 
mained there  a  year,  was  made  a 
knight,  and  received  many  pres- 
ents at  parting.  The  Sultan  of- 
(Venice.  S.  Maria  dell  Orta.  Gentile  fered  ^  ^  ^  he  WQuld  nam6j 

but  he  only  demanded  a  letter  of 

praise  to  the  Signoria  of  Venice.  He  carried  to  Venice  many 
sketches,  and  a  portrait  of  Mehemet.  He  also  brought  a  picture, 
Louvre  No.  68,  which  represents  the  reception  of  a  Venetian 
embassy  by  the  grand  vizier  and  other  officers.  When  Gentile 
left  Venice,  Giovanni  was  appointed  to  his  place  in  the  council- 
chamber,  and  when  he  returned,  they  continued  the  work  in  com- 
pany. The  pictures  painted  there  were  partly  legendary,  and  partly 
historical,  and  represented  events  in  the  Venetian  wars  in  1177  ;  the 
combats  on  the  Adriatic ;  and  the  reconciliation  of  the  Emperor  with 
Pope  Alexander  III.  These  were  done  in  fourteen  compartments. 
They  were  almost  destroyed  by  fire  in  1577,  but  enough  remains  to 
make  their  loss  a  subject  of  regret.  The  other  great  work  in  which  this 
artist  was  engaged  was  the  decoration  of  the  school  of  S.  Giovanni 
Evangelista,  at  Venice.  Two  of  these  pictures,  one  representing  a 
miracle  by  means  of  a  relic  of  the  holy  cross,  the  other  a  procession 
in  which  the  same  relic  is  borne,  are  in  the  Venetian  Acad.  Of  his 


S.  LORENZO  GIUSTINIANI. 


BELLINI.  93 

other  works  I  shall  only  mention  No.  90,  in  the  Brera,  at  Milan, 
representing  "  S.  Mark  preaching  at  Alexandria;  "  and  a  portrait  of 
Mehemet,  said  to  be  in  England.  In  the  former  of  these  he  intro- 
duced the  costumes  he  had  seen  in  the  East.  The  picture  was  not 
finished  at  his  death,  and  in  his  will,  he  provided  that  his  brother, 
Giovanni,  should  not  receive  the  sketch-book  of  his  father  until  he 
had  finished  the  picture  of  S.  Mark.  This  painting,  in  spite  of  the 
injuries  it  has  received,  has  a  brilliant  effect,  and  is  valuable  as  the 
last  work  of  the  elder,  combined  with  the  mature  perfection  of  the 
younger  brother.  There  are  other  pictures  ascribed  to  Gentile  which 
lack  proof  of  having  been  painted  by  him.  Such  are  No.  69,  Louvre; 
No.  13,  Correr  Mus.  ;  and  No.  12,  Berlin  Mus.  He  was  also  a 
mosaist,  and  left  a  "  Virgin  and  Child  "  to  the  company  of  S.  Marco. 
It  is  believed  that  he  had  a  school,  and  that  Titian  became  his  pupil 
in  1486,  when  but  nine  years  of  age.  His  time  was  constantly  occu- 
pied, and  in  1506  he  refused  an  order  from  the  Marquis  of  Mantua, 
asserting  that  he  was  engaged  for  a  long  time  in  advance.  He  was 
married,  but  had  no  children,  and  worked  until  the  day  of  his  death, 
at  which  time  he  was  more  than  eighty  years  old. 

Bellini,  Giovanni,  the  younger  brother  of  Gentile,  was  born  at 
Venice  (1422-1512).  The  most  excellent  of  this  celebrated  family. 
His  works  may  be  divided  into  two  periods ;  those  which  he  executed 
before  he  learned  to  paint  in  oil,  and  those  done  afterwards.  The 
first  have  sweetness  and  elegance,  but  are  also  dry  and  timid;  the 
last  are  a  rich  foretaste  of  the  Venetian  coloring  which  was  perfected 
later,  while  they  lose  nothing  of  the  charms  of  the  former.  His 
chefs-d'oeuvre,  which  can  still  be  seen  in  the  Acad.,  and  churches 
of  Venice,  were  painted  after  he  was  sixty-five  years  old.  We  cannot 
appreciate  this  man  unless  we  take  into  account  the  state  of  Venetian 
art  in  his  day.  It  had  been  greatly  influenced  by  Mantegna,  the 
Paduan,  but  Gio.  Bellini  must  stand  as  the  founder  of  true  Venetian 
painting.  Even  earlier  than  this  its  coloring  had  been  softer,  and 
more  richly  blended  than  that  of  other  schools.  The  very  atmos- 
phere resulting  from  its  situation  must  have  produced  this,  for  it 
habituated  the  artist  to  wonderful  effects  of  color.  Then  the  spirit 
of  the  life  there,  the  pomp,  the  cheerfulness,  the  oft-recurring  fetes, 
engendered  a  love  of  the  rich  and  deep  tones  of  color  which  so 
enhance  beauty.  Then,  too,  about  the  time  when  Giovanni  could 
be  said  to  be  an  artist,  Van  Eyck  was  introducing  oil  colors  into 
Flanders,  and  Antonello  da  Messina  brought  them  to  Italy.  There 
is  a  story  that  Giovanni  went  to  the  studio  of  Antonello  in  disguise, 
and  thus  learned  the  secret  of  the  new  color  mixing,  but  this  is  not 
verified,  and  does  not  accord  with  his  character.  But,  however  he 
may  have  learned,  it  is  true  that  he  employed  oils  with  great  success 
and  j  udgment.  His  compositions  are  not  especially  varied  or  poetical. 
His  powers  were  not  versatile,  but  there  is  a  moral  beauty  in  his 


94 


BELLINI. 


figures,  rather  than  a  spiritual  one,  and  he  seems  to  stop  just  on  the 

line  which  separates  the  highest  earthly 
type  from  the  heavenly.     Kugler   says: 
"His   Madonnas    are    amiable   beings, 
imbued  with   a  lofty  grace  ;  his  saints 
are    powerful    and    noble    forms;    his 
angels  cheerful  boys  in  the  full  bloom 
of     youth."       His    representations    of 
Christ  are  full  of  moral  power,  such  as 
has  rarely  been  equalled.   His  draperies 
are  peculiar  in  the  crystal-like  clearness 
of  their  deep,  rich  colors.  His  authentic 
works  do  not  belong  to  his  youth.     We 
have  seen  how  he  labored  with  Gentile 
in  the  great  council-chamber,  in  which 
place  he  continued  to  paint,  at  times,  dur- 
ing all  his  life.    His  earliest  dated  work 
is  of  1487,  and  represents  a  "  Madonna 
and  Child  "  standing  on  a  parapet.  It  is 
in  the  Acad.  of  Venice,  and  there  is  a 
similar  one  in  the  Berlin  Mus.     It  is 
interesting  to  see  previous  works  of  this 
master,  and  study  the  changes  through 
which  his   style   has   passed.     In    this 
way  one  can  comprehend,  in  a  measure, 
the  struggles  through  which  he  reached  his  later  style,  and  his  grop- 
ing after  the  proper  handling  of  the  new  oil  mediums,  which  was  an 
art  in  itself.     To  1488  belongs  a  large  altar-piece  in  the  Sacristy  of 
S.  Maria  de'  Frari  ;  two  angels  in  this  are  especially  beautiful.     The 
whole  picture  is  a  fine  piece  of  color,  and  nicely  finished.     There  is 
also  a  large  altar-piece  in  SS.  Giovanni  e  Paolo,  which  is  one  of  his 
earlier  pictures  ;  and  another,  very  similar,  in  the  Acad.     In  the  ch. 
of  S.  Zaccaria  is  a  "  Madonna"  with  saints  and  an  angel,  dated  1505, 
and  at  S.  Salvatore,  "Christ  at  Emmaus,"  belonging  to  the  same 
period.     This  last  is  especially  fine.     A  similar  picture,  but  not  as 
good,  is  in  the  Manfrini  Gall.     Perhaps  his  latest  work  of  this  kind 
is  in  S.  Gio.  Crisostomo,  dated  1515.     In  this  he  painted  SS.  Jerome, 
Augustine,  and   Christopher.     The  shades   of  moral  contrasts  are 
finely  and  powerfully  drawn.     It  is  a  picture  that  compels  one  to 
study  it.     Other  works  of  his  are  in  the  ch.  del  Eedentore,  the  Man- 
frini Gall.,  and  the  Acad.     Some  of  them  are  allegorical  represen- 
tations, full  of  naivete  and  cheerfulness.     One  of  his  latest  works  was 
a  "  Bacchanalian,"  with  a  landscape  by  Titian.   He  often  painted  the 
single  figure  of  the  Redeemer.     Liibke  says  of  these  representations: 
"  By  grand  nobleness  of  expression,  solemn  bearing,  and  the  excellent 
arrangement  of  the  drapery,  he  reached  a  dignity  which  has  been 


CHRIST.      BY  GIO.    BELLINI. 


BELLINI  -  BELLOTTI.  95 

rarely  surpassed."  The  pictures  of  Giovanni  are  very  numerous  in 
Venice,  and  found  in  all  large  collections  elsewhere.  Space  will  not 
allow  description.  The  following  are  some  of  the  more  important 
ones  :  National  Gall.,  Nos.  726  and  280  ;  No.  27,  Correr  Gall.  ;  No. 

4,  Lochis  Carrara  Gall.,  Bergamo;  a  "Pieta,"  No.  188,  in  the  Brera  ; 
"  Pieta"  in  the  Cath.  of  Toledo;  Stuttgart  Mus.,  No.  4-;  Berlin  Mus., 
Nos.   4,  6,  and  36;  Padua  Gall.,  No.  48  ;  Uffizi,  No.   581  ;  Castle 
Howard,  No.    125  •,  Leuchtenberg  Gall.,  No.  68;    Mus.   of  Rovigo, 
No.  80  ;  Doria  Gall.,  Rome,  No.  5-;  Belvedere,  Room  2,  Nos.  63  and 
65;  Naples  Mus.,  No.  378;  Stadel  Gall.,  Frankfort,  No.  17;  Madrid 
Mus.,  No.  665 ^  Brera,  No.  209;  Louvre,  No.  69  bis;  and  many,  many 
others.     His  very  last  work  was  a  "  Madonna  "  in  S.  Giustina,  Padua, 
dated  1516.     It  is  a  singular  truth  that  some  of  his  latest  pictures 
are  much  more  like  those  of  a  youthful  artist  than  were  his  earlier 
ones.     For  in  1514,  almost  at  the  close  of  his  life,  he  painted  a  feast 
of  the  gods,  which  represents  the  gay  and  sensual  with  the  happiness 
of  the  bright  days  of  Titian.    This  picture  is  now  at  Alnwick  Castle. 
In  1515  he  painted  the  "  Venus  of  the  Belvedere,"  Room  2,  No. 
43.     His  last  works  were  thus  in  marked  contrast  with  his  first. 
He  is  believed  to  have  instructed  Giorgione  and  Titian.     It  is  said 
that  Albert  Diirer  visited  him  in  the  last  year  of  his  life,  and  pro- 
nounced him  the  best  artist  of  that  time.     His  death  occurred  on  the 
29th  of  November,  and  he  was  buried  in  SS.  Giovanni  e  Paolo,  by 
the  side  of  his  brother  Gentile, 

Bellini,  Filippo,  born  at  Urbino,  1594.  A  good  painter,  and  an 
imitator  of  Federigo  Baroccio.  One  of  his  most  important  works  is 
a  series  of  fourteen  representations  of  the  Works  of  Charity,  in  the 
Chiesa  dulla  Carita  at  Fabriano.  In  the  Basilica  of  Loretto  there  is 
a  "  Circumcision,"  and  in  the  dome  at  Ancona  a  "Marriage  of  the 
Virgin,"  by  this  master. 

Bellini,  Giacinto,  Cavaliere,  born  at  Bologna,  was  living  in  1660. 
Pupil  of  Francesco  Albano.  Later  he  studied  with  Francesco 
Caracci  in  Rome.  There  he  attracted  the  attention  of  Card.  Tonti, 
who  employed  him  a  long  time,  and  procured  him  the  knighthood  of 
the  Order  of  Loretto.  His  pictures  possess  much  of  the  gracefulness 
of  Albano. 

Belliniano,  Vittore,  born  at  Venice.  Flourished  about  1526.  A 
painter  of  history.  Several  of  his  works  are  in  the  Confraternity  of 

5.  Mark's,  and  the  neighboring  churches  of  Venice. 

Bellotti,  Bernardo,  born  at  Venice,  1724;  died  at  Warsaw,  1780. 
A  painter  and  engraver.  Nephew  and  pupil  of  Antonio  Canal, 
called  Canaletto.  Bellotti  painted  perspective  and  architectural  views 
in  a  pleasing  manner.  He  lived  much  in  Germany,  and  etched,  from 
his  own  designs,  views  of  Vienna,  Dresden,  and  Warsaw.  He  was 
a  member  of  the  Acad.  of  Dresden,  and  many  of  his  pictures  are 
in  the  Gall,  of  that  city.  They  are  called  by  the  name  of  Canaletto, 


96  BELLOTTI  —  BENASCHI. 

which  he  assumed.  He  signed  some  of  his  works  Bernardo  Belotto 
detto  Canaletto.  The  fine  views  of  Dresden  were  ordered  by  Count 
Briihl,  at  200  thalers  each.  The  figures  were  the  work  of  Stefano 
Torelli  of  Bologna. 

Beltraffio,  Gio.  Antonio  (1467-1516).  A  Milanese  gentleman, 
and  a  pupil  of  Leonardo  da  Vinci.  His  characteristic  is  gentleness. 
In  the  Louvre  is  an  altar-piece  painted  for  a  ch.  in  Bologna.  It 
represents  the  "  Madonna  and  Child  "  with  John  the  Baptist  and  S. 
Sebastian;  the  donors  are  kneeling.  It  was  painted  in  1500.  In 
the  Berlin  Mus.  there  is  a  "  S.  Barbara"  by  Beltraffio.  "  A  figure 
of  peculiarly  grand,  statue-like  dignity."  In  the  National  Gall, 
there  is  a  "  Madonna  and  Child "  ascribed  to  him  ;  his  works  are 
scarce. 

Bellucci,  Antonio,  born  at  Pieve  di  Soligo  (1654-1726).  A 
painter  who  excelled  in  small  figures.  He  painted  these  in  many  of 
the  landscapes  of  Tempesta.  In  color  he  belonged  to  the  Tenebrosi, 
but  used  shadow  so  judiciously  as  not  to  spoil  his  color.  He  is  said 
to  have  painted  altar-pieces  in  Venice  and  Verona.  There  are 
pictures  of  his  in  the  Dusseldorf  Gall.,  and  a  u  Nativity  "  in  the  ch. 
of  the  Ascension  at  Venice. 

Beltrano,  Agostino,  and  his  wife,  Aniella.  Neapolitan  painters 
who  flourished  about  the  middle  of  the  1 7th  century.  They  were 
the  pupils  of  Massimo,  and  Aniella  was  his  niece.  Beltrano  was  a 
good  fresco  painter,  and  more  than  ordinary  in  his  coloring  in  oil. 
This  is  proved  by  numerous  cabinet  pictures,  and  a  few  large  fres- 
coes. Aniella  painted  in  the  same  style,  and  worked  with  her 
husband.  She  had  talent  and  beauty.  The  pictures  which  are 
called  hers  are  praised,  especially  that  of  the  "  Birth  and  Death  of 
the  Virgin,"  in  the  Chiesa  della  Pietk  de'  Turchini.  But  it  is  not 
unlikely  that  she  was  assisted  by  Massimo.  In  1649,  when  thirty-six 
years  old,  she  was  murdered  by  her  husband,  in  a  fit  of  jealousy. 
She  survived  her  wounds  long  .enough  to  pardon  Beltrano.  He  fled 
to  France,  and  wandered,  an  outcast,  till  1659,  when  he  returned  to 
Naples  and  resumed  his  work.  He  lived,  tormented  by  remorse, 
till  1665. 

Bemmell,  William  van,  born  at  Utrecht  (1630-1703).  Pupil 
of  Herman  Sachtleeven,  and,  like  him,  an  excellent  landscape 
painter.  He  went  to  Italy  and  made  many  studies  of  scenery  about 
Rome.  He  settled,  at  length,  in  Nuremberg.  His  pictures  were 
much  admired,  and  are  mostly  in  German  collections. 

Bemmell,  Peter  Van,  born  at  Nuremberg  (1689-1723).  Grand- 
son of  the  preceding,  and  a  landscape  painter.  His  pictures  are 
scarcely  known  outside  his  native  city. 

Benaschi  or  Beinaschi,  Gio.  Batista,  Cavaliere  (1636-1688). 
An  imitator,  and  probably  a  pupil  of  Lanfranco.  Most  of  his  works 
are  in  Naples,  where  he  painted  ceilings  and  other  frescoes. 


BENASCHI  —  BENCOVICH. 


97 


Benaschi,  Angela.  Daughter  cf  the  preceding,  and  a  good 
portrait  painter. 

Benazech  (Benasech,  Benezech,  Benezeck,  Benazec), 
Charles.  English  engraver  and  painter.  Studied  at  Paris  under 
Greuze.  Went  to  Rome  in  1782.  Returned  to  Paris,  and,  at  the 
time  of  the  French  Revolution,  revisited  London,  where  he  died. 
He  especially  devoted  himself  to  historical  painting,  and  his  best 
works  are  a  series  of  four  pictures  of  the  last  days  of  Louis  XVI. 
He  also  left  a  few  engravings. 

Bencovich,  Federigo,  called  also  Federighetto  di  Dalmazia. 
Flourished  about  1753.  A  native  of  Dalmatia,  but  educated  in 
Bologna.  He  studied  the  style  of  Carlo  Cignani.  His  works  were 
good,  and  he  painted  pictures  of  merit  in  Milan,  Venice,  and 


BBUBT,   iiv  P.KNKDKTTO  DA  MA.IANO,   FI:OM  TIIK  MAIM-.I.K  PULPIT  IN  STA. 

FJ,OUKN(  K. 

7 


98 


BENCOV1CH  —  BENEFIAL. 


Bologna.  In  the  latter  city,  in  the  ch.  of  La  Madonna  del  Piombo, 
is  an  altar-piece  by  this  master,  representing  the  "  Crucifixion  of  S. 
Andrew."  Many  of  his  easel  pictures  are  in  Germany,  where  he 
resided  for  a  time. 

Benedetto,  da  Majano,  born  at  Florence  (1442-1498).  An 
eminent  architect  and  sculptor.  He  commenced  life  as  a  worker  in 
wooden  mosaic  or  intarsiatore.  His  brother,  Giuliano,  was  also  a 
celebrated  artist,  and  a  younger  one,  Giovanni,  was  of  less  impor- 
tance. Together  they  executed  the  "  Madonna  dell  Ulivo,"  in  terra 
cotta,  and  a  "  Pieta  "  in  bas-relief.  They  stand  at  a  wayside  shrine, 
a  mile  outside  the  gate  of  Prato,  towards  Florence.  We  have  only 
to  compare  the  relief  of  the  brothers  with  the  "  Madonna "  of 
Benedetto,  to  perceive  his  excellence.  His  greatest  work  as  an 
architect  was  the  Palazzo  Strozzi,  which  was  commenced  in  1489. 
After  the  death  of  Filippo  Strozzi  the  work  was  suspended,  and  the 
building  was  finished  under  the  direction  of  Cronaca.  In  1490  he 
made  busts  of  Giotto  and  Squarcilupo  in  the  Duomo  at  Florence. 
In  the  same  year  he  went  to  Naples,  where  he  remained  two  years, 
and  was  constantly  occupied  by  the  Duke  of  Calabria.  He  also 
executed  the  bas-reliefs  of  the  "  Annunciation  "  in  the  ch.  of  Monte 
Oliveto,  and,  in  1491,  the  monument  to  Filippo  Strozzi  was  erected 
in  Santa  Maria  Novella,  which  he  had  commissioned  Benedetto 
to  make  before  his  death.  It  is  the  chef-d'oeuvre  of  Majano,  and 
one  of  the  finest  works  of  the  15th  century.  He  also  made  the 
beautiful  altar  of  S.  Savino  for  the  Cath.  at  Faenza;  a  marble 
pulpit  at  Santa  Croce,  Florence  ;  and  some  works  at  S.  Simignano. 
The  pulpit  at  Santa  Croce  was  very  fine  ;  he  supported  it  against  a 
column,  through  which  he  carried  the  staircase  ;  the  reliefs  repre- 
sent scenes  from  the  life  of  S.  Francis.  In  the  Uffizi  there  is  a  bust 
of  Pietro  Mellini,  who  commissioned  Benedetto  to  execute  the  pulpit, 
and  in  the  same  Gall,  a  figure  of  S.  John. 

Benedetto.     See  Castiglione. 

Benedicto,  Roque,  died  at  Valencia,  1735.  His  pictures  are 
sometimes  taken  for  those  of  his  master,  Gaspar  de  la  Huerta.  His 
best  work  represents  S.  Francis  de  Paula  feeding  three  thousand 
people  with  a  little  bread. 

Benfatto,  Luigi,  born  at  Verona  (1551-1611).  Nephew  and 
pupil  of  Paul  Veronese.  He  was  distinguished  for  his  works  in  the 
public  places  in  Venice.  In  the  Chiesa  di  S.  Marta  are  several  of 
his  pictures  illustrating  the  life  of  the  saint,  and  in  the  ch.  of  S. 
Nicholas  a  grand  composition  representing  the  Ascension  of  that 
saint. 

Benefial,  Cavaliere  Marco,  born  at  Rome  (1684-1764).  In  the 
Palazzo  Spada,  Rome,  there  is  a  saloon  painted  entirely  by  this 
artist ;  in  the  Acad.  of  S.  Luke  a  picture  of  "  Christ  and  the  Samar- 
itan Woman,"  and  in  the  Stimmate  a  "Flagellation."  His  merits 


BENEFTAL  —  BERCHEM.  99 

have  been  much  discussed,  and  his  admirers  give  him  unqualified 
approbation,  while  others  call  him  feeble  in  all  points.  His  monu- 
ment is  in  the  Pantheon. 

Benso,  Giulio,  born  at  Genoa  (1601-1668).  Pupil  of  Gio. 
Batista  Paggi.  Soprani  calls  him  an  architect  also.  He  painted 
history  and  perspective.  He  was  a  protege  of  the  house  of  Doria, 
and  some  of  his  works  were  in  their  Palace.  Several  of  his  oil  pic- 
tures are  in  the  churches  of  Genoa.  That  of  "  S.  Domenico  "  is 
much  admired,  and  the  "  Crowning  of  the  Virgin,"  in  the  Nunziata, 
is  a  fine  production. 

Bent,  John  van  der,  born  at  Amsterdam  (1650-1 690).  Land- 
scape painter.  Scholar  of  Peter  Wouvermans  and  Adrian  van  de 
Velde.  While  he  is  not  equal  to  his  masters,  his  works  are  deserv- 
ing of  esteem.  Many  of  them  are  in  England.  They  bear  a  strong 
resemblance  to  those  of  Nicholas  Berghem. 

Benvenuto,  Gio.  Batista,  called  L'Ortolano,  or  market  gardener, 
from  the  occupation  of  his  father,  born  at  Ferrara  (about  1490- 
1525).  A  contemporary  of  Garofalo,  the  prince  of  Ferrarese  paint- 
ers. L'Ortolano  studied  in  Bologna  under  II  Bagnacavallo.  His 
style  was  severe,  and  his  pictures  curiously  finished.  His  heads  are 
weak,  but  his  landscapes  and  backgrounds  good,  and  his  figures  well 
brought  out.  His  works  are  in  S.  Niccolo,  S.  Maria  de  Servi,  and  S- 
Lorenzo  at  Ferrara. 

Berchem,  Nicholas,  born  at  Haerlem 
1624-1683).  Son  of  Pieter  Klaasze.  The 
rea:-oii.  for  his  being  called  Berchem,  or 
Berghem,  is  not  known,  but  he  usually  signed 
his  works  with  that  name.  He  studied  with  his  father,  Van  Goyen, 
J.  B.  Weenix,  and  Jan  Wils,  and  married  the  daughter  of  the  latter. 
It  is  evident  from  his  works  that  he  went  to  Italy,  although  no  ac- 
count of  his  having  done  so  is  given.  lie  painted  genre,  battles,  land- 
scapes, cattle,  and  portraits.  His  best  works  are  his  small  landscapes 
with  figures  and  cattle.  lie  painted  with  great  facility,  and  his  wife 
was  so  avaricious  that  she  constantly  excited  him  to  work.  She  also 
saw  to  it  that  his  money  was  saved,  as  he  liked  to  spend  it  for  Italian 
drawings.  Berchem  is  the  most  celebrated  of  the  group  of  painters 
to  which  he  belongs.  Smith  describes  417  of  his  works,  and  he  left 
besides  more  than  50  etchings,  some  of  which  show  a  better  feeling 
for  nature  than  is  found  in  his  oil  pictures.  By  their  dates  it  is  seen 
that  he  handled  the  point  when  but  ten  years  of  age.  The  galleries 
of  Munich,  Dresden,  Vienna,  Berlin,  St.  Petersburg!!,  and  the 
Louvre  contain  the  largest  number  of  his  works.  Some  are  also  in 
England,  in  the  National  Gall,  and  at  Dulwich  ;  and  Lord  Ashbur- 
ton  has  one  of  his  best  productions,  called  "  Le  Fagot,"  from  a 
bundle  of  wood  carried  by  a  man  in  the  foreground.  He  seldom 
made  large  pictures,  but  in  1648  he  painted  an  Italian  landscape,  now 


100 


BERCHEM. 


at  the  Hague,  in  which  the  figures  are  life-size.     It  was  sold  in  1827 
for  £500,  but  it  is  cold  and  unsatisfactory,  though  well  drawn  and 


lighted.     In  additio 


often  painted  figures  and 


animals  in  the  landscapes  of  other  artists,  such  as  Ruysdael,  Hobbema, 
Jan  Wils,  Abraham  Verboom,  and  Isaac  Moucheron. 


BERCHEM  —  BERCHET.  101 

ENGRAVINGS    AFTER    THE    WORKS    OF    BERCHEM. 

Engraver,  ALIAMET,  Jacques.  Landscape,  with  Figures  and 
Cattle.  The  Port  of  Genoa.  Landscape  with  a  Stag  Hunt.  The 
Female  Villagers.  Village  Pleasures. 

Em/raver,  AMSTEL,  Cornelius  Ploos  Van.  A  Landscape  with  a 
Woman  riding  on  an  Ass,  with  Cattle  by  the  side  of  a  Canal  ;  N. 
Bert/hem,  fecit,  1764;  P.  Van  Amstel,  fecit,  1769. 

Engraver,  AVELIXE,  Peter.     A  Landscape;  fine. 

Engraver,  AVRIL,  Jean  Jacques.     The  Passage  of  the  Rhine. 

Engraver,  BAS,  James  Philippe  le.  Four  Plates  of  the  Times  of 
the  Day.  The  Embarkation. 

Engraver,  CANOT,  Peter  Charles.     Returning  from  Market. 

Engraver,  CHARPENTIER,  Pierre  Fra^ois.  The  Shepherdess. 
The  Shepherd  reposing. 

Engraver,  COULET,  Amne  Philibert.  The  "  Rendezvous  &  la 
Colonne." 

En  graver,  DANCKEKT  or  DANCKERS,  Dancker.  Four  plates  of 
Landscapes  and  Figures,  in  one  of  which  a  man  is  passing  a  Bridge. 
The  best  prints  of  Danckert. 

Engraver,  DAUDET,  John  Baptist.  Two  Landscapes,  with  Figures 
and  Cattle. 

Engraver,  DEQUEVAUVILLER,  Francois.  Noon;  a  Landscape 
with  Figures.  Evening;  the  etching  by  Weisbrod. 

Engraver,  GROKNSVELT,  John.  A  Set  of  Six  Landscapes.  A  Set 
of  Four  Landscapes;  Hcrglicin,  del.  Groensvelt,  fee.  Cle.de  Jonghe, 
exc.;  fine. 

Engraver,  KOBELL,  William.  Two  Landscapes,  with  Figures  and 
Cattle. 

Engraver,  LAURENT,  Peter.  The  Passage  of  the  Ferry  Boat. 
The  Shepherdess.  The  Fortune  Teller. 

Engraver,  MAJOR,  Thomas.  The  Travellers.  Two  Landscapes; 
morning  and  evening. 

Engraver,  MAUTKNASIE,  Peter.     The  Watering  Place. 

Engraver,  NON,  Richard  Abbe  de  St.   A  Landscape  with  a  Figure. 

/•;/ / graver,  PELLETIER,  Jean.  The  Watering  Place.  Ruins  and 
Figures. 

Engraver,  SCIILICIIT,  Abel.  A  Landscape,  with  Figures  and 
Animals. 

Engraver,  VEAU,  Jean  Le.     The  Village  Blacksmith. 

Engraver,  VISSCIIER,  Cornelius.  Two  Sets  of  Landscapes;  four 
plates  each.  Several  Peasants  dancing  in  a  Cottage,  called  Berg- 
hem's  Ball.  His  finest  plate.  A  Set  of  four  Landscapes,  the  four 
times  of  the  Day.  Several  sets  of  Landscapes,  with  Figures  and 
Animals. 

Berchet,  Peter,   French  school  (1659-1720).     Pupil  of  Charles 


102  BERCHET  —  BERGMULLER. 

de  la  Fosse.  Went  to  England  in  1681.  His  best  work  is  the 
ceiling  of  the  chapel  at  Trinity  College,  Oxford,  representing  the 
"  Ascension." 

Berg,  Mathias  Van  den,  born  at  Ypres  (1615-1647).  It  is  said 
that  his  father  had  the  care  of  the  estates  of  Rubens,  and  that  master 
took  the  son  into  his  Academy.  He  is  known  only  by  his  excellent 
copies  of  the  works  of  his  master. 

Bergen,  Dirk  Van,  born  at  Haerlem  (1645-1689).  Pupil  of 
Adrian  Van  de  Velde,  and  one  of  his  most  successful  imitators. 
His  earliest  works  are  the  best,  and  are  warm  and  sunny  in  color;  in 
his  later  ones  the  cattle  become  crude  in  tone,  and  hard  in  execution. 
Nos.  15  and  16,  Louvre,  are«among  his  best  pictures,  as  are  also 
Nos.  28  and  29,  Amsterdam  Mus.  He  established  himself  in  Lon- 
don in  1673. 

Berger,  Daniel,  born  at  Berlin,  1744.  Pupil  of  his  father.  He 
became  a  good  engraver,  made  a  number  of  portraits  of  the  royal 
family  and  many  plates  after  different  artists,  principally  those  of 
his  own  country.  In  178  7  he  was  appointed  Rector  and  Professor 
of  Engraving  at  the  Acad.  of  Berlin. 

Bergeret,  Pierre-Nolasque,  born  at  Bordeaux  (1780-1828?). 
A  pupil  of  David,  and  a  distinguished  painter  of  history  and  land- 
scapes. He  was  happy  in  the  choice  of  interesting  subjects.  Many 
of  his  works  were  placed  in  the  Gall,  of  the  Luxembourg,  and  other 
royal  collections.  He  also  painted  four  portraits  for  the  Hall  of  the 
Chancellors.  He  designed  bas-reliefs,  among  which  may  be  men- 
tioned those  on  the  column  of  the  Place  Vendome.  Many  of  his 
pictures  have  been  engraved  and  some  of  them  used  as  illustrations 
of  splendid  editions  of  "  La  Fontaine,"  "  Boileau,"  etc.,  etc. 

Bergler,  Joseph,  born  at  Salzberg,  1753;  died  at  Prague,  1829. 
When  twenty  years  old  he  had  made  himself  so  good  a  name  that 
Prince  Firmian  of  Passau  sent  him  to  Italy,  with  a  pension.  He 
went  first  to  Milan,  where  he  was  the  pupil  of  Martin  Knollcr.  He 
remained  five  years  in  Milan,  copying  works  of  the  masters,  and 
executing  frescoes  with  his  teacher.  From  Milan  he  went  to  Rome, 
and  in  1784  gained  the  prize  of  the  Acad.  in  Parma.  From  this 
time  he  received  as  many  commissions  as  he  could  execute.  He 
remained  in  Rome  until  1786-,  when  he  returned  to  Passau.  In  1800 
he  went  to  Prague  to  assume  the  place  of  director  of  the  Acad. ;  the 
number  of  his  oil  pictures  is  very  large.  They  are  almost  without 
exception  representations  of  religious  subjects,  and  may  be  seen  in 
the  churches  of  his  own  country. 

Bergmuller,  John  George,  born  at  Dirkheim  in  Bavaria  (1688- 
1762).  Pupil  of  Andrew  Wolff.  Painter  of  history  and  portraits, 
but  best  known  by  his  engravings,  which  were  from  his  own  designs. 
Some  of  his  pictures  are  in  the  churches  of  Augsburg,  where  he 
resided. 


BERINGEROTH  —  BETtNA.  103 

Beringeroth,  Martin,  born  at  Ramelsbourg,  1670;  died  in  Leipsic, 
1733.  An  engraver  who  executed  a  great  number  of  portraits. 

Beringeroth,  John  Martin,  born  at  Leipsic  (1713-1767).  Son  of 
the  preceding,  and  an  engraver  of  portraits. 

Berkheiden,  Job,  born  at  Haerlem  (1628-1698).  He  is  not  known 
to  have  had  any  teacher,  but  when  young,  made  sketches  which  were 
so  much  praised  that  he  determined  to  become  an  artist.  His  pictures 
are  landscapes  with  small  figures,  and  sometimes  represent  village 
fetes,  etc.,  with  some  success.  He  travelled  with  his  younger  brother 
Gerit,  and,  when  he  returned  to >  Holland,  was  well  patronized.  He 
was  employed  by  the  Elector  Palatine,  when  in  Germany,  and  re- 
ceived from  him  a  gold  medal  and  chain.  Entire  pictures  by  him  are 
rare.  He  painted  some  portraits.  No.  845,  Berlin  Mus.,  a  landscape, 
has  his  signature.  He  was  drowned  in  a  canal  at  Amsterdam. 

Berkheiden,  Gerit,  born  at  Haerlem  (1645-1693).  His  pictures 
chiefly  represent  the  exteriors  of  buildings  in  his  own  country,  and 
1 1  :il v.  They  are  good,  but  not  equal  to  those  of  Van  der  Heyden. 
His  works  are  rare  in  public  galleries.  There  is  a  fine  series  in  the 
Hope  Coll.;  Amsterdam  Mus.,  No.  26  is  one  of  his  best.  The  same 
is  true  of  Dresden  Gall.,  No.  1470.  Louvre  No.  28,  is  a  view  of  Tra- 
jan's Column.  Mr.  Baring  has  an  excellent  view  of  a  Dutch  town, 
with  numerous  figures. 

Berkmaiis,  Henry,  born  at  Clunder,  1629;  died  at  Middlebourg, 
1690.  His  last  instructor  was  J.  Jordaens.  At  first  he  painted  his- 
tory, but  his  portraits  were  so  good,  and  in  such  demand,  that  he 
could  not  fulfil  his  commissions.  He  painted  many  of  the  most  distin- 
guished men  of  his  time.  His  best  work  is  a  large  picture  of  the 
Company  of  Archers,  in  the  Town  Hall  of  Middlebourg. 

Berliiighieri,  Marco,  Barone,  and  Boiiaventura.  These  are 
three  artists  of  this  name  mentioned  as  signing  a  treaty  of  peace  with 
1'isa,  iu  1228.  The  works  of  Bmiavi-ntura  alone  remain.  They  con- 
sist of  a  series  illustrative  of  the  Life  of  S.  Francis,  in  the  ch.  of 
that  saint  at  Pescia;  and  No.  28,  a  "  Crucifixion,"  in  the  Acad.  of 
b'i ne  Arts  at  Florence.  These  pictures  are  characterized  by  childish 
simplicity.  The  angels  are  merely  motionless  half-figures,  with 
embroidered  dresses,  and  the  resoluteness  with  which  the  different 
occurrences  in  the  life  of  the  saint  are  crudely  indicated,  is  ludicrous 
in  the  extreme.  The  sparrows  to  which  he  talks  are  huge  birds, 
perched  on  trees  rising  from  a  conical  hill;  and  those  persons  whom 
he  treed  from  evil  spirits  have  little  devils  flying  out  of  their  mouths. 

Berliiighieri,  Camillo,  called  II  Ferraresino,  born  at  Ferrara 
(about  1596-1635).  Pupil  of  Carlo  Bononi.  Painter  of  history. 
His  works  are  chiefly  at  Ferrara  and  Venice.  A  picture  of  the 
"  Miracle  of  the  Manna,"  in  the  ch.  of  S.  Niccolo  at  Ferrara,  is  a 
line  work,  also  that  of  the  "  Annunciation  "  in  S.  Antonio  Abate. 

Berna  or  Bariia.     True  name  thought  to  have  been  Barna  Bertini. 


104 


BERN  A  —  BERNINI. 


Sienese  painter  (died  1381  ?).  In  the  capitular  ch.  of  S.  Girnignano,  in 
the  Valdelsa,  there  still  may  be  seen  some  remains  of  the  frescoes  of 
this  old  artist.  They  represent  stories  from  the  New  Testament,  and 
have  been  injured  by  retouching.  As  far  as  can  be  judged,  Barna 
combined  the  peculiarities  of  Simone  and  Ugolino  —  minute  drawing, 
abundant  ornament,  muscular  limbs,  stiffened  action,  close-fitting 
draperies,  and  a  general  flatness  in  effect.  Vasari  claimed  praise  for 
Barna  on  account  of  his  having  been  the  first  to  depict  animals  well. 
In  the  Berlin  Mus.  are  three  pictures,  Nos.  1067,  1072,  and  1142, 
which  may  be  the  works  of  Barna;  the  latter  especially  has  his  char- 
acteristics, and  in  the  Chapel  del  Rosario  at  S.  Dominico  in 
Siena,  there  is  a  "  Virgin  and  Child  "  attributed  to  him.  He  was 
killed  by  a  fall  from  his  scaffold. 

Bernabei,  Pier  Antonio,  called  della  Casa,  born  at  Parma. 
Flourished  1550.  An  imitator  of  Correggio.  The  Cupola  of  La  Ma- 
donna del  Quartiere  proves  him  to  have  been  a  good  fresco  painter. 
Lanzi  says,  equal  to  any  of  that  time  in  Lombardy,  and  perhaps  in 
Italy.  There  are  also  considerable  works  of  his  at  the  Carmelites, 
and  in  other  places  in  Parma. 

Bernaerts,  Nicaise,  born  at  Antwerp  (1608-1678).  Pupil  of 
Francis  Snyders.  His  pictures  so  nearly  resemble  those  of  his  master 
that  they  have  been  sold  as  genuine  Snyders. 

Bernard,  Jan  (1765-1833).  A  copyist  of  Paul  Potter  and 
Berghem.  A  member  of  the  Institute,  and  of  the  Acad.  of  Fine 
Arts  at  Amsterdam. 

Bernard  of  Brussels.    See  Van  Orley. 

Bernard,  Solomon,  or  Little  Bernard.  An  engraver,  born  at 
Lyons,  1512.  His  best  prints  are  those  for  a  Bible  published  at 
Lyons  from  1550  to  1580. 

Bernard,  Samuel,  born  at  Paris,  1615.  A  miniature  painter  and 
engraver.  Pupil  of  Simon  Vouet.  He  attempted  frescoes,  but 
failed.  He  succeeded  better  in  miniatures,  but  at  last  became  an 
engraver. 

Bernini,  Gio.  Lorenzo,  born  at  Naples,  1598;  died  at  Rome,  1680. 
As  early  as  his  tenth  year  he  had  become  known  as  a  prodigy  in  art. 
At  this  time  his  father  took  him  to  Rome.  Pope  Paul  V.  became 
interested  in  him,  and  also  Card.  Barberini,  who  assisted  him  in  his 
studies.  Good  fortune  ever  attended  his  steps,  and,  although  he 
lived  during  nine  pontificates,  the  favor  of  the  reigning  Pope  was 
always  his.  His  fame  extended  to  other  countries,  and  he  was 
invited  to  France,  to  which  country  he  went  when  sixty-eight  years 
old,  accompanied  by  one  of  his  sons  and  a  numerous  retinue.  He 
was  loaded  with  favors,  and  received  large  sums  of  money  and 
valuable  presents.  He  held  several  benefices  at  Rome,  and  his  son 
was  Canon  of  Santa  Maria  Maggiore.  He  was  buried  with  great 
magnificence  in  the  last  named  ch.,  and  left  the  immense  fortune  of 


BERNINI. 


105 


400,000  Roman  crowns.  He  had  versatility  of  talent,  remarkable 
imagination  and  perceptive  power,  and  marvellous  facility  of  execu- 
tion. It  has  been  said  that  marble  was  like  clay,  or  wax,  beneath 
his  hand.  He  believed  and  constantly  said  that  one  must  be  above 
rules  in  order  to  excel.  There  is  a  fascination  in  the  sound  of  this 
maxim,  but  Bernini's  own  works  prove  that  its  practical  application 
is  hurtful,  and  his  extraordinary  executive  ability  often  failed  to 
atone  for  the  bad  taste  in  which  he  treated  his  subjects.  In  short, 
his  desire  for  picturesque  and  unusual  effect  made  him  an  injury 
rather  than  a  benefit  to  the  art  he  practised.  Westmacott  says  it 
would  have  been  better  for  sculpture  had  Bernini  never  lived. 

His  "  Apollo  and  Daphne  "  was  executed  when  he  was  but  eighteen 
years  old  ;  yet  he  himself  declared,  near  the  close  of  his  life,  that  he 
had  made  little  progress  since  it  was  produced.  Some  of  his  most 
important  works  were  exe- 
cuted in  the  time  of  Urban 
VIII. ,  among  which  are 
the  great  altar  of  S.  Peter's, 
in  bronze  and  gilt,  bi-nratli 
the  centre  of  the  dome  ;  the 
pulpit  and  canopy  of  S. 
Peter's  ;  colossal  statues  of 
the  Four  Doctors  of  the 
Church  supporting  the  chair 
of  S.  Peter;  the  Campanile; 
the  circular  piazza  before 
the  Basilica,  and  the  Pal. 
Barberini.  The  beautiful 
colonnade  of  S.  Peter's  was 
executed  according  to  his 
plans,  and  under  his  direc- 
tion. He  also  built  the 
Chapel  of  S.  Teresa,  in  the 
ch.  of  Santa  Maria  della 
Vittoria;  the  ch.  and  high 
altar  of  S.  Bibiano;  a  large 
part  of  the  ch.  of  S.  Anas- 
tasia;  the  celebrated  Chigi 
I 'a  I.;  the  Collegio  Urbano 
di  Propaganda  Fide,  besidi-s 

4.  -          ,  i          ,  APOLLO   AND  DAPHNE.      BY   BERNINI. 

portions   of   other   churches 

and    palaces.     For    Charles  In  the  Villa  Borghese,  Koine. 

I.  of  England  he  executed  a  statue.  For  this  purpose  the  king  sent 
him  three  portraits  by  Vandyck,  and  the  likeness  was  so  satisfactory 
that,  in  addition  to  the  6,000  crowns  paid  for  the  statue,  Charles  sent 
him  a  ring  worth  as  much  more.  The  colossal  equestrian  statue  of 


106  BERNINI  -  BERTHELEMY. 

Louis  XIV.,  executed  by  Bernini,  was  afterwards  converted  into 
Marcus  Curtius,  and  was  sent  to  Versailles.  Bernini  also  executed 
the  monuments  of  Urban  VIII.  and  Alexander  VII.  in  S.  Peter's, 
and  the  decorations  of  the  Bridge  of  S.  Angelo.  Among  his  charac- 
teristic and  exaggerated  works  are  the  fountain  in  the  Piazza 
Navona ;  the  "  Ecstasy  of  S.  Teresa,"  and  the  "  Apollo  and 
Daphne  "  before  mentioned. 

Berre,  Jean  Baptiste,  born  at  Antwerp,  1777;  died  in  Paris,  about 
1830.  A  painter  of  subjects  in  the  manner  of  Weenix.  His  pictures 
were  highly  finished,  are  much  sought  for  by  amateurs,  and  bring 
large  prices.  He  lived  mostly  in  Paris.  His  works  are  in  several 
rich  collections. 

Berreguette,  Alonso,  born  at  Parades  de  Nava,  in  Castile,  about 
1480.  The  most  eminent  Spanish  artist  of  his  time.  He  is  called 
the  Michael  Angelo  of  Spain,  for  he  was  painter,  sculptor,  and 
architect.  He  studied  with  his  father  Pedro,  and  was  painter  to 
Philip  I.  He  was  in  Florence  in  1503,  and  went  with  Michael 
Angelo  to  Rome  in  1505.  He  devoted  many  years  to  study  in  Italy, 
returning  to  Spain  in  1520.  He  was  appointed  painter  and  sculptor 
to  Charles  V.  He  received  4400  ducats  for  the  high  altar  of  the 
ch.  of  S.  Benito  el  Real,  in  Valladolid,  where  he  settled.  When 
almost  eighty  years  old  he  went  to  Toledo,  to  construct  a  monument 
to  Card.  Tavera  in  the  Hospital  of  S.  John  Baptist.  He  was  lodged 
in  the  hospital,  and  there  died  in  1561.  He  left  a  large  fortune, 
and  was  buried  with  magnificent  ceremonies  at  the  expense  of  the 
emperor. 

Berrestyn,  C.  V.,  flourished  about  1650.  A  German  engraver. 
There  is  one  plate  of  a  woody  landscape,  signed  with  his  name  and 
the  above  date,  which  is  very  scarce. 

Berretoni,  Pietro.     See  Cortona. 

Berretoni,  Niccolo,  born  at  Montefeltro,  1627.  He  was  the  best 
scholar  of  Carlo  Maratti.  In  the  ch.  of  Montesanto,  at  Rome,  there 
is  an  altar-piece  representing  a  scene  in  the  life  of  S.  Francis,  which 
is  his  best  work.  He  became  a  member  of  the  Acad.  at  Rome  in 
1675,  and  died  in  1682. 

Bertaud,  Marie  Rosalie,  born  at  Paris,  about  1700.  An  en- 
graver, whose  best  works  are  after  the  pictures  of  Vernet.  She  was 
instructed  by  S.  Aubin  and  Choffard. 

Bertelli,  Cristofano,  born  at  Rimini,  1525.  We  have  a  few 
plates  by  him,  stiffly  executed  with  the  graver. 

Bertelli,  Ferrando,  born  at  Venice,  1525.  He  engraved  mostly 
after  the  Venetian  painters. 

Bertelli,  Lucas.  A  relative  of  the  preceding,  who  engraved  after 
the  Italian  masters.  Some  of  his  prints  are  very  scarce. 

Berthelemy,  Jean  Simon,  born  at  Laon,  1743;  died  in  Paris, 
1811.  Pupil  of  N.  Halle.  His  subjects  were  historical  and  poetical. 


BERTHELEMY  —  BETTELINI.  107 

He  painted  ceilings  in  the  Pal.  of  Fontainebleau,  the  Luxembourg, 
and  at  the  Museum.  He  was  a  member  of  the  Acad.  and  Director 
of  the  School  of  Design. 

Bertin,  Nicholas,  born  at  Paris  (1667-1736).  Son  of  a  sculptor, 
who  died  while  he  was  a  boy.  He  studied  with  John  Jouvenet,  and 
later  with  the  elder  Boulogne.  So  much  talent  had  he,  that  he 
gained  the  first  prize  at  the  Acad.  when  eighteen  years  old,  and  was 
sent  to  Rome  with  a  pension  from  the  king.  He  remained  three 
years.  Returning  to  Paris,  he  so  distinguished  himself,  that  he  was 
made  a  Royal  Academician  in  1 703.  He  was  employed  by  Louis 
XIV.  at  the  Trianon.  He  painted  in  Normandy,  and  in  the  Abbey 
of  S.  Germain  des  Pres  is  a  representation  of  the  "  Baptism  of  the 
Eunuch  of  Queen  Candace,"  which  is  fine. 

Bertucci,  Jacopo,  called  Jacopone  da  Faenza,  flourished  about 
1530.  Was  best  known  as  a  copyist  of  Raphael,  and  also  executed 
some  good  pictures  at  Faenza. 

Bertucci  or  Bertusio,  Gio.  Batista,  born  at  Faenza,  died  1644. 
Studied  under  Denys  Calvart,  and  afterwards  in  the  school  of  the 
Caracci.  He  painted  history  and  imitated  Guido.  His  drawing 
was  good,  but  his  color  chalky  and  cold.  Many  of  his  works  are  in 
the  churches  of  Bologna. 

Bervic,  Charles  Clement,  born  at  Paris  (1756-1822).  A  pupil 
of  J.  G.  Wille.  A  fine  engraver.  A  plate  of  the  "  Laocoon,"  made 
by  him  for  the  Muse'e  Frai^ais,  Bryan  calls  the  best  representation 
of  that  group  ever  engraved.  It  has  been  sold  as  high  as  £30. 

Beschey,  Balthasar,  born  at  Antwerp  (1708-1776).  A  weak 
painter  of  history  and  portraits.  Antwerp  Mus.  Nos.  496  and  497 
are  his,  and  seem  to  imitate  Gaspard  de  Craeyer.  They  represent 
scenes  in  the  life  of  Joseph.  His  own  portrait  is  No.  498  Antwerp 
Gall. 

Beschey,  J.  F.,  born  at  Antwerp  (1739-1799).  A  copyist  of  Dutch 
and  Flemish  painters. 

Besenzi,  Paolo  Emilio,  born  at  Reggio  (1624-1666).  An  imitator 
of  Albano.  His  best  pictures  arc  in  the  ch.  of  S.  Pietro,  at  Reggio, 
and  are  worthy  of  commendation. 

Bestard.  A  Spanish  artist  who  lived  at  Palma  at  the  end  of  the 
17th  century.  He  ornamented  several  public  buildings  there,  and 
painted  a  picture  for  the  convent  of  Monte  Sion,  which  was  24 
palms  wide,  and  15  palms  high.  It  represents  "  Christ  in  the 
Desert  attended  by  Angels,"  and  is  the  wonder  of  Palma.  He  had 
good  knowledge  of  drawing,  color,  and  chiaro-scuro. 

Bettelini,  Pietro,  born  at  Lugano,  1763.  A  very  eminent  en- 
graver. Thorwaldsen  so  esteemed  him  that  he  employed  him  to 
engrave  his  finest  works.  His  plate  of  the  "  Entombment,"  after 
Andrea  del  Sarto,  is  called  his  clief-d' <xuvrey  and  is  a  magnificent 
work  of  art. 


108  BETTI  —  BIGARI. 

Betti,  Padre  Biagio,  bora  at  Pistoja  (1545-1615).  Pupil  of 
Daniele  da  Volterra.  After  the  death  of  his  master  Betti  became  a 
monk  of  the  Theatine  order.  His  works  are  principally  in  the 
monastery  of  his  order  at  Rome. 

Betti,  Bernardino  di.    See  Pinturicchio. 

Bewick,  Thomas,  born  at  Cherry  Burn,  1753;  died  at  Gateshead, 
1828.  This  artist  is  distinguished  as  the  reviver  of  wood-engravino-. 
He  was  apprenticed  to  Ralph  Beilby  at  Newcastle,  an  excelfent  ami 
painstaking  master,  who  pointed  out  to  him  in  what  he  could  excel. 
His  first  considerable  work  was  the  illustration  of  Dr.  Button's  book 
on  mensuration.  He  at  length  became  a  partner  of  Beilby  and,  in 
1790,  published  his  "  History  of  Quadrupeds."  From  this  time  his 
fame  was  established.  He  afterwards  made  the  illustrations  for 
many  fine  books,  among  which  were  "British  Birds,"  "British 
Water  Birds,"  Goldsmith's  "  Deserted  Village  "  and  "  Traveller," 
etc.  He  had  many  distinguished  pupils,  such  as  Harvey,  Nesbitt, 
Hole,  Ransom,  and  Clennell. 

Bianchi,  Cavaliere  Isidore,  born  at  Milan.  Flourished  about 
1626.  Pupil  of  Morazzone,  and  one  of  his  best  followers.  His  fres- 
coes were  his  best  works,  and  may  be  seen  in  the  churches  of  Como, 
and  in  S.  Ambrogio,  at  Milan. 

Bianchi,  Pietro,  born  at  Rome,  1694.  Pupil  of  Benedetto  Luti. 
One  of  his  best  works  is  a  picture  of  the  ' '  Conception  ' '  in  the  ch. 
of  S.  Maria  degli  Angeli. 

Biancucci,  Paolo,  born  at  Lucca  (1 583-1 653)o  Pupil  of  Guido. 
His  works  resemble  those  of  Sassoferrato.  A  representation  of 
' '  Purgatory ' '  in  the  ch.  of  the  Suffragio,  and  an  altar-piece  in  S. 
Francisco  are  among  his  best  works. 

Bicci.  There  were  three  artists  of  this  name,  and  there  has  been 
much  confusion  regarding  their  individuality.  It  now  seems  to  be 
established  that  Lorenzo,  di  Bicci  married  Madonna  Lucia  d'Angelo 
da  Panzano.  Their  son  Bicci  was  born  in  1373,  married  in  1418, 
and  was  father  of  Neri  di  Bicci.  Thus  we  have  Lorenzo  di  Bicci, 
Bicci  di  Lorenzo  his  son,  and  Neri  di  Bicci  his  grandson.  No 
pictures  now  remaining  are  positively  known  to  be  those  of  Lorenzo. 
Of  the  works  of  Bicci,  a  few  remain.  No.  14,  first  corridor,  Uffizi 
Gall.,  representing  "  SS.  Cosmo  and  Damian,"  was  formerly  in  the 
ch.  of  S.  Maria  del  Fiore,  executed  about  1429.  Some  other  works 
still  remain  in  S.  Maria  del  Fiore,  and  a  terra  cotta  above  the  portal 
of  S.  Maria  Nuova;  the  drawing  of  these  was  better  than  the  color. 
Neri  di  Bicci  was  little  more  than  a  house-painter,  but  he  filled 
half  Tuscany  with  pictures.  Many  of  these  still  remain  in  churches, 
and  there  are  four  ' '  Annunciations ' '  by  him  in  the  Acad.  of  Arts 
in  Florence.  These  artists  were  among  the  last  of  the  weak  imita- 
tors of  Giotto. 

Bigari,  Vittorio,  born   at  Bologna.     His  works  may  be  seen  in 


BIGARI  —  BISCAINO.  109 

almost  every  church  in  Bologna,  and  are  well  spoken  of.  In  the 
ch.  of  the  Madonna  del  Soccorso,  there  is  a  "  Madonna  and  Child," 
with  S.  Petronio  and  other  saints,  which  is  much  admired. 

Biliverti,  Gio.,  born  at  Florence  (1576-1644).  Pupil  of  Cigoli. 
He  united,  in  a  degree,  certain  elements  of  his  master,  of  S.  di  Tito, 
and  of  P.  Veronese.  A  picture  of  the  *  '  Chastity  of  Joseph  '  '  by 
him  is  in  the  Florence  Gall.  It  is  much  admired,  and  has  been  so 
often  copied,  that  amateurs  should  be  on  their  guard  concerning  it. 
Several  of  his  works  are  in  S.  Gaetano  and  S.  Marco. 

Biltius,  Francis.  An  artist  of  the  Netherlands,  who  flourished 
about  1650.  He  painted  dead  game,  hunting-horns,  pouches,  nets, 
etc.,  in  such  a  manner  that  they  were  often  mistaken  for  the  real 
articles.  He  used  white  backgrounds. 

TP      -i-^  Binck,  James,  born  at  Cologne,  about  1504.     A  dis- 

I  ^  f|  j  e    tinguished  old  engraver  whose  plates  are  highly  prized. 

He  is  believed  to  have  studied  first  with  Albert  Diirer, 

and  some  of  his  plates  resemble  those  of  that  master.     He  went  to 

Rome,  and,  it   is    said,  studied  with  Marc    Antonio,  and  engraved 

after  the  works  of  Raphael  under  his  guidance.     From  the  size  of 

his  plates  he  is  called  a  little  master.     His  drawing  is  correct,  his 

style  neat,  and  he  had  facility  of  execution.     He  usually  marked  his 

plates  I.  B.,  or  with  those  letters  with  C.  between,  forming  a  cipher. 

Birch,  Thomas.  An  Englishman  who  settled  in  Philadelphia, 
where  he  died  in  1851.  He  painted  marine'  views.  His  pictures  of 
the  engagements  between  the  U.  S.  Frigate  Constitution  and  the 
British  Frigate  Guerriere,  and  between  the  United  States  and  the 
Macedonian,  have  nuieh  historical  value,  and  are  in  the  Gall,  of 
Joseph  Harrison  in  Philadelphia. 

Bird,  Edward,  born  at  W<>1\  t  rhampton,  1762;  died  at  Bristol, 
1819.  Son  of  a  carpenter,  he  was  apprenticed  to  a  tin  and  japan- 
ware  maker.  When  he  became  his  own  master  he  removed  to 
Bristol,  where  lie  was  first  a  drawing  teacher  and  at  length  an  artist. 
He  succeeded  in  gaining  a  reputation  rapidly,  and  his  pictures  had 
a  ready  sale.  In  1814  he  was  appointed  painter  to  the  Princess 
Charlotte,  and  the  next  year  was  made  a  member  of  the  Royal  Acad. 
His  genre  pictures  were  the  best,  and  he  made  a  mistake  in  attempt- 
ing historical  representations.  Although  not  equal  to  Wilkie,  he 
painted  in  his  style.  His  best  works  are,  the  "  Results  of.  the  Battle 
of  Chevy  Chace,"  and  the  «*  Surrender  of  Calais."  He  was  much 
respected,  and  was  buried  with  honors  in  the  Bristol  Cath. 

Biscaino,  Bartolommeo,  born  at  Genoa  (1632-1657).  Studied 
first  with  his  father,  Gio.  Andrea  Biscaino,  and  later  with  Valeric 
Castelli.  His  early  works  showed  great  genius,  and  his  future  was 
full  of  promise.  Although  but  twenty-five,  he  had  painted  several 
important  pictures  when  the  plague  devastated  Genoa,  to  which 
both  Bartolommeo  and  his  father  were  victims.  There  are  three 


'  UNIVERSITY 


1 1 0  BISCAINO  —  BLACHERNITA. 

pictures  by  this  artist  in  the  Dresden  Gall.  He  also  etched  some 
plates  in  a  free,  bold  manner,  with  good  drawing  and  high  finish. 

Biset,  Charles  Emanuel,  born  at  Antwerp,  1633.  This  artist 
went  to  Paris,  where  his  pictures,  which  were  conversations,  or 
representations  of  gallant  assemblies,  were  much  in  vogue.  He  met 
with  good  success,  but  his  love  of  Antwerp  caused  him  to  return 
there,  and  he  was  made  director  of  the  Acad.  in  1674.  In  the  hall 
of  the  Society  of  Archers  there  is  a  picture  of  "  Tell  compelled  to 
shoot  the  Apple  from  his  Son's  Head,"  which  is  the  work  of  this 
artist. 

Bisi,  Michael.  A  celebrated  engraver  of  Milan.  He  gained  his 
first  reputation  by  the  ' '  Pinacoteca  del  Palazzo  lieale,  della  Scienze 
'delle  Arti,"  etc.,  which  he  published.  He  commenced  a  set  of 
engravings  after  the  works  of  Andrea  Appiani  in  1819,  in  which  he 
was  assisted  by  the  best  pupils  of  Longhi.  Later  he  made  plates 
after  various  masters,  all  of  which  were  good.  He  also  painted  land- 
scapes with  some  success. 

Bissolo,  Pier  Francesco.  A  Venetian  artist,  who  painted  from 
1500  to  1528.  He  was  brought  up  in  the  school  of  the  Bellini.  His 
heads  are  beautiful  and  full  of  expression.  His  characteristics  are 
gentleness,  and  delicacy  of  execution.  In  the  Berlin  Mus.  there  is  a 
fine  work  of  his,  representing  the  "  Resurrection  of  Christ ;  "  in 
the  Manfrini  Gall.,  an  "Annunciation,"  and  in  the  Venetian  Acad. 
"  S.  Catherine  of  Siena,  exchanging  the  crown  of  thorns  for  a  crown 
of  gold ;  "  signed  Franciscus  Bissolo. 

Bissuccio,  Leonardo  di.  But  one  work  of  this  artist  is  known 
to  remain.  It  is  the  decoration  of  the  monumental  chapel  to  Sergiani 
Carracciolo,  in  the  ch.  of  S.  Giovanni  a  Carbonara,  at  Naples.  It 
was  built  in  1433.  The  style  of  the  pictures  is  Giottesque,  but  the 
heads  are  more  like  those  of  Fiesole.  Carracciolo  was  the  lover  and 
seneschal  of  the  younger  Queen  Johanna,  and  one  of  these  pictures 
represents  him  naked,  as  he  was  found  after  his  murder.  There  are 
also  scenes  from  the  "  Life  of  the  Virgin,"  and  pictures  of  several 
members  of  the  Carracciolo  family.  There  is  an  inscription  which 
clearly  tells  the  name  and  origin  of  the  painter. 

Blaceo,  Bernardino.  An  artist  of  Udine,  in  the  Frioul,  who 
flourished  about  1 550.  His  works  are  in  several  churches  in  Udine. 

Blachernita,  Michael  and  Simeon.  These  artists  were  painters 
of  miniature,  or  the  illuminations  of  MSS.  Their  names  are  upon 
the  miniatures  in  the  celebrated  Menologium  or  Calendar  of  the 
Emperor  Basilius  II.  It  was  executed  about  1000  A.  D.,  and  is  now 
in  the  Vatican,  No.  1613,  Vaticana.  It  is  supposed  that  Ludovico 
Sforza,  Duke  of  Milan,  procured  it  from  Constantinople.  There 
remain  at  present  but  five  months,  but  these  contain  430  miniatures 
on  gold  grounds,  representing  scenes  in  the  "  Life  of  Christ,"  and 
in  the  lives  of  those  saints  whose  days  occur  in  these  months.  This 


BLACHERNITA  —  BLANSERI.  ]  1 1 

MS.  was  presented  to  Paul  V.  who  placed  it  in  the  Vatican  in 
1615. 

Blackmore,  John.  An  English  mezzotinto  engraver,  who  has 
left  some  well-scrflped  plates  of  portraits.  Flourished  1770. 

Blake,  William,  born  in  London  (1757-1828).  Poet  and  painter, 
a  man  of  wonderful,  rather  than  practical  genius.  He  was  appren- 
ticed to  an  engraver.  He  lived  in  a  sort  of  dream-land,  and  took 
what  he  called  portraits  of  Moses,  Homer,  Milton,  etc.  He  said  of 
himself,  that  his  business  was  "  not  to  gather  gold,  but  to  make 
glorious  shapes,  expressing  godlike  sentiments."  He  painted  but 
little.  He  married  Catherine  Boutcher,  who  was  a  devoted  wife. 
He  also  possessed  the  strong  friendship  of  the  sculptor  Flaxman. 
He  loved  the  antique,  and  the  works  of  Raphael  and  Michael  Angelo. 
His  illustrations  of  the  Book  of  Job,  Young's  "  Night  Thoughts," 
Blair's  "  Grave,"  etc.,  are  astonishing  conceptions,  but  his  published 
works  are  too  well  known  to  need  description  or  criticism. 

Blanchard,  Jacques,  born  at  Paris  (1600-1638).  When  twenty- 
four  he  went  to  Italy,  and  lived  two  years  in  Rome  and  two  in  Venice. 
He  perfected  himself  in  the  coloring  of  the  Venetian  masters,  for 
which  he  was  much  admired  after  his  return  to  Paris.  He  has  been 
called  the  French  Titian.  His  pictures  are  agreeable,  and  his  flesh 
tints  are  very  good.  In  the  ch.  of  Notre  Dame  are  two  pictures  by 
this  master,  representing  the  "Descent  of  the  Holy  Ghost,"  and 
u  S.  Andrew  kneeling  before  the  Cross."  Several  of  his  works  are 
in  the  Louvre.  He  also  etched  plates  from  his  own  designs  and 
those  of  other  masters. 

Blanchet,  Thomas,  born  at  Paris,  1617;  died  at  Lyons,  1689.  At 
first  he  studied  sculpture  under  Sarrazin,  but  abandoned  it  on  ac- 
count of  his  delicate  health.  He  went  to  Rome  and  studied  under 
Andrea  Sacchi.  He  was  a  friend  of  Algardi  and  Nicholas  Poussin, 
both  of  whom  advised  and  encouraged  him.  Returning  to  Paris,  he 
painted  the  "  Vision  of  S.  Philip,"  and  the  "Baptism  of  the  Eu- 
nuch," for  the  Cath.  of  Notre  Dame,  and  was  then  employed  to 
execute  various  works  for  the  Hotel  de  Ville  at  Lyons.  These  last 
earned  him  a  reputation  as  an  historical  painter.  When  admitted  to 
the  Ac  ad.  at  Paris,  he  painted  for  his  picture  of  reception,  "  Cadmus 
killing  the  Dragon." 

Blankhof,  John  Teunisz,  born  at  Alkmaer  (1628-1670).  Pupil 
of  Caesar  van  Everdingen.  He  spent  some  time  in  Italy.  He  ex- 
celled in  marine  views,  and  some  of  his  best  pictures  represent 
storms  on  the  Mediterranean  coast,  in  which  he  imitated  the  scenery 
of  Italy  with  Dutch  truthfulness. 

Blanseri,  Vittorio,  born  in  Venice  (1735-1775).  Educated  in 
the  school  of  Cavaliere  Beaumont,  he  was  his  best  scholar,  and  his 
successor  in  the  office  of  painter  at  the  court  of  Turin.  His  principal 
works  are  in  that  city,  one  of  which,  representing  "  S.  Luigi  faint- 
ing," is  in  the  ch.  of  S.  Pelagic,  and  is  much  admired. 


112 


BLECK  —  BLOEMEN. 


Bleck  or  Bleeck,  Peter  Van.  A  Flemish  engraver,  who  went  to 
England  about  1730.  He  engraved  in  naezzotinto,  and  his  plates 
have  considerable  merit. 

Bles,  Henri  de,  born  at  Bouvignes,  1480  ; 
died  probably  1550  at  Liege.  A  painter  of 
landscapes  who  belonged  to  one  of  the  last 
branches  of  the  Van  Eyck  school.  He  adopted 
an  owl  for  his  monogram,  and  was  called 
Civetta  in  Italy.  His  manner  was  stiff  and  dry,  resembling  that  of 
Jacob  Patinier  in  color.  He  often  introduced  a  Scripture  subject  in 
a  landscape.  No.  624,  Berlin  Mus.,  is  one  of  his  earlier  works,  and 
is  a  male  portrait  with  a  landscape  background.  No.  91,  Munich 
Gall.  Cabinets,  represents  the  "Adoration  of  the  Kings."  In  the 
Coll.  of  the  Prince  Consort  at  Kensington  there  is  a  "  Crucifixion  " 
by  this  master.  His  works  are  rarely  for  sale,  and  are  much 
esteemed. 

Bloemaert,  Abraham,  born 
at  Gorcum  about  1564;  died  at 
Utrecht,  1647.  Painter  and  en- 
graver, a  contemporary  of  Ru- 
bens, and  the  son  of  Cornelius  Bloemaert,  an  eminent  architect. 
He  painted  history,  landscape,  and  animals.  His  drawing  was  very 
bad.  "The  Wise  Men's  Offering,"  in  the  Jesuit  ch.  at  Brussels; 
a  "  Nativity  "  at  Leliendael;  also  Nos.  745  and  722,  Berlin  Gall.; 
No.  193,  Munich  Gall.;  the  "  Feast  of  the  Gods,"  in  the  Hague  Gall., 
and  a  "  Madonna  "  in  the  Mechlin  Cath.  are  by  Bloemaert.  He  de- 
serves the  most  attention  as  an  engraver,  for  his  etchings  are  good,  his 
plates  in  chiaro-scuro  are  spirited  and  effective,  and  the  outlines  are 
not  cut  on  blocks  of  wood,  as  is  customary,  but  etched  on  copper. 

Bloemaert,  Cornelius,  son  of  the  preceding.  Born  at  Utrecht, 
1603;  died  at  Rome,  1680.  A  very  distinguished  engraver.  He 
studied  first  under  his  father,  then  with  Crispin  de  Passe.  In  1 630 
he  went  to  Paris,  where  he  distinguished  himself .  He  went  to  Rome 
where  he  passed  the  remainder  of  his  life.  His  engravings  were  fine, 
but  he  effected  a  change  in  his  art,  which  added  to  his  fame  more 
than  his  works.  Before  his  time  there  was  an  inattention  to  har- 
mony, and  the  lights  were  left  indiscriminately  clear,  which  had  an 
incongruous  and  spotted  effect.  Bloemaert  effected  a  gradual  or 
insensible  gradation  from  light  to  shade,  and  made  a  variety  of 
tints  in  the  distances.  Thus  he  may  be  called  the  originator  of  the 
style  followed  by  Poilly,  Audran,  Picart,  and  the  great  French 
engravers.  His  works  are  much  prized,  and  several  of  them  have 
become  scarce.  He  marked  his  plates  C.  BL.  or  CORN.  BLO.  or 
C.  BLO. 

Bloemen,  John  Francis  Van,  called  Orizonti,  bom  at  Antwerp, 
1656;  died  at  Rome,  1740.  He  painted  like  an  Italian,  for  he  went 


BLOEMEN  —  BLONDEEL.  1 13 

to  Italy  when  very  young,  and  there  passed  his  life.  His  works  are 
in  the  Colonna,  Doria,  and  Rospigliosi  palaces  in  Rome,  and  also  in 
the  pontifical  Pal.  at  Monte  Cavallo.  He  painted  landscapes  and 
received  his  sobriquet  from  the  Soc.  of  Flemings  at  Rome,  on  account 
of  the  delicate  beauty  with  which  he  painted  his  distances.  His 
pictures  are  very  unequal.  He  made  choice  of  good  subjects,  and 
some  of  his  best  are  almost  equal  to  those  of  Gaspar  Poussin,  and 
although  inferior  to  the  latter  he  merits  a  rank  among  the  best  land- 
scape painters.  His  works  are  well  known  in  England,  and  there 
are  six  in  the  Louvre,  Nos.  33  to  38,  also  three  landscapes  in  the 
Vienna  Gall. 

Bloemen,  Peter  Van,  called  Standard,  born  at  Antwerp  (1649- 
1719).  Brother  of  the  preceding.  He  went  also  to  Rome,  but  re- 
turned to  Flanders,  with  numerous  studies  made  in  Italy.  He  painted 
attacks  of  cavalry,  from  which  he  received  the  name  of  Standard; 
also  battles,  fairs,  caravans,  etc.  His  figures  and  animals  were 
drawn  with  great  freedom  and  spirit,  and  his  landscapes  were 
adorned  with  ruins  of  statues,  and  architectural  ruins.  In  1699  he 
was  appointed  director  of  the  Acad.  of  Antwerp.  In  the  Dresden 
Gall,  there  are  six  pictures  by  this  artist.  No.  993,  "  The  Vagrant 
Family,"  is  the  best;  next  to  it  is  one  of  Fishermen  and  an  old  gray 
.Horse,  and  Travellers  with  Horses  before  an  Inn. 

Blond  or  Blon,  James  Christopher  Le,  born  at  Frankfort,  1670; 
died  at  Paris,  1741.  He  went  early  to  Italy,  where  he  studied  under 
Carlo  Maratti.  He  next  went  to  Amsterdam  with  B.  van  Overbeck. 
There  he  painted  miniature  portraits  which  were  much  esteemed.  He 
went  at  length  to  England,  and  attempted  the  printing  of  mezzotinto 
plates  in  colors,  so  as  to  represent  perfectly  the  pictures  from  which 
they  were  made.  He  disposed  of  the  prints  which  he  made  by  a 
kind  of  lottery,  and  published  a  book  upon  the  Harmony  of  Coloring 
in  Painting.  He  also  conceived  the  idea  of  making  tapestries  from 
the  cartoons  of  Raphael.  Houses  were  purchased,  drawings  made, 
and  much  money  expended,  but  the  scheme  failed,  and  Le  Blon 
went  to  Paris,  and,  it  is  said,  died  in  a  hospital.  His  prints,  aside 
from  their  novelty,  have  some  merit. 

Blondeel,  Lancelot.  Flourished  at  Bruges  about  1520  to  1574. 
His  pictures  have  rich  architectural  backgrounds,  often  in  Renais- 
sance style;  executed  on  a  gold  ground.  The  effect  is  brilliant. 
His  figures  are  in  the  Italian  style.  His  flesh  tones  are  cold,  and  his 
whole  execution  mannered.  In  the  ch.  of  S.  Jacques,  Bruges,  is  a 
picture  representing  SS.  Cosmo  and  Damian,  dated  1523;  his  earliest 
known  work  ;  in  the  Cath.  a  "Madonna"  with  Saints,  dated  1545  ; 
and  the  Berlin  Mus.  has  two  of  his  works,  Nos.  641  and  656.  The 
mantelpiece  in  the  council-hall  of  Bruges  was  designed  by  Blondeel, 
and  is  adorned  with  stutues  of  Charles  V.  and  other  princes.  He 
was  originally  a  mason,  hence  his  monogram  of  a  trowel. 


114  BLOOT  —  BOCCACCINO. 

Bloot,  Peter.  A  painter  of  Holland.  Flourished  about  1650, 
died  1667.  He  represented  scenes  from  low  life;  drunken  frolics, 
quarrels,  etc.  His  characters  are  uncomely,  grotesque,  and  even 
disgusting.  Unlike  some  other  artists,  such  as  Ostade  and  Teniers, 
he  has  not  attempted  to  reconcile  us  to  vulgarity  by  ingenious 
arrangement  or  beautiful  colors.  His  works  are  very  rare  and  highly 
prized  in  Holland. 

Blooteling  or  Bloteling,  Abraham,  born  at  Amsterdam, 
1634.  His  style  indicates  that  he  studied  under  the 
Visschers.  He  became  a  very  eminent  designer  and  en- 
graver, and  produced  a  large  number  of  etchings;  some  plates  in 
mezzotinto,  and  some  executed  with  the  graver.  He  went  to  Eng- 
land in  1672,  and  remained  two  years.  He  etched  plates  of  the 
Coll..  of  gems  of  Leonardo  Augostini,  and  published  them  in  1685. 

Blot,  Maurice,  born  at  Paris  (1754-1818).  Pupil  of  Aug.  S. 
Aubin.  He  engraved  in  a  neat  style,  and  has  left  some  plates  of 
portraits  and  fancy  subjects. 

Bobadilla,  Geronimo,  born  at  Antequerra  ;  died,  1680.  Pupil 
of  Zurbaran  at  Seville.  He  thoroughly  understood  perspective,  and 
arranged  the  figures  in  his  pictures  well,  but  his  designs  were  not 
good.  His  color  was  better.  Murillo  compared  the  varnish  he  used 
to  crystal.  He  was  one  of  the  founders  of  the  Acad.  at  Seville.  He 
made  a  large  Coll.  of  drawings,  models,  sketches  after  celebrated 
artists,  etc. 

Bocanegra,  Don  Pedro  Atanasio,  born  at  Granada  (1638-1688). 
A  pupil  of  Alonso  Cano,  he  also  studied  color  from  the  works  of 
Pedro  de  Moya  and  Vandyck.  He  was  a  boaster,  vain  and  arro- 
gant, disliked  by  all  who  knew  him, -and  when  he  was  challenged 
to  prove  his  skill  he  stole  away  from  Madrid  to  avoid  the  test.  But 
his  works  were  much  esteemed,  and  no  Coll.  was  thought  complete 
without  them.  At  the  college  of  the  Jesuits,  Granada,  is  the  "  Con- 
version of  S.  Paul,"  one  of  his  finest  works  ;  and  in  the  Cloister  of 
Nuestra  Senora  de  Gracia  a  "  Conception." 

Boccaccino,  Boccaccio,  born  at  Cremona  (1460-1518).  Few 
facts  are  known  in  the  life  of  this  old  painter.  In  1497  he  had 
painted  a  series  of  frescoes  in  S.  Agostino,  and  had  a  school  at 
Cremona,  from  which  Garofalo  ran  away  in  1499.  His  compositions 
are  scattered  ;  his  perspective  bad  ;  but  there  is  a  certain  grace  and 
spirit  in  his  figures.  His  remaining  works  are  frescoes  in  the  Cath. 
of  Cremona  ;  at  S.  Quirico  in  Cremona,  a  panel  much  in  the  Vene- 
tian style  of  painting  ;  an  early  tempera  on  canvas  in  the  Bishop's 
Pal.  at  Cremona;  No.  132,  Venice  Acad.,  and  an  altar-piece  at  S. 
Giuliano  at  Venice.  There  are  others  that  are  supposed  to  be  his 
in  various  collections,  which  are  attributed  to  Perugino,  Pinturicchio, 
etc. 

Boccaccino,   Camillo,  born  at  Cremona  (1511-1546).     Son   of 


BOCCACCINO  —  BOEYERMANNS.  115 

the  preceding.  At  the  time  of  his  early  death  he  was  the  most 
promising  artist  of  the  Cremonese  school.  The  "  Raising  of  Laz- 
arus," and  the  "Adulteress  before  Christ,"  at  Cremona,  are  well 
esteemed,  and  he  painted  the  "  Four  Evangelists,"  in  S.  Sigismondi, 
in  a  style  which  showed  great  knowledge  of  perspective  and  fore- 
shortening. 

Bocciardo,  Clemen te,  called  Clementone,  born  at  Genoa  (1620- 
1658).  His  principal  works  are  at  Pisa,  and  a  "Martyrdom  of  S. 
Sebastian,"  in  the  ch.  of  the  Carthusians,  is  one  of  the  best. 

Bocciardo,  Domenico,  born  at  Genoa,  1686.  In  the  ch.  of  S. 
Paolo,  Genoa,  there  is  a  picture  by  him  of  S.  John  baptizing  several 
persons. 

Bockhorst,  John  Van,  called  Langen  Jan,  born  at  Munster, 
1610.  His  family  removed  to  Antwerp,  and  he  became  a  pupil  of 
Jacob  Jordaens.  He  painted  much  in  the  style  of  Vandyck.  His 
portraits  were  excellent,  and  his  historical  pictures  rank  among  the 
best  productions  of  the  Flemish  school.  They  are  in  many  Flemish 
churches.  In  the  ch.  of  S.  James,  at  Ghendt,  there  is  an  altar-piece 
representing  the  Martyrdom  of  the  Saint,  and  in  the  ch.  of  the 
Beguines,  at  Antwerp,  a  "Resurrection;"  both  fine  works  by  this 
master. 

Boedas.  Third  son  of  Lysippus,  the  great  sculptor  of  Sicyon. 
Nothing  is  known  of  Boedas  but  that  he  made  a  statue  of  a  praying 
figure.  Many  believe  the  "  Praying  Boy  "  in  bronze,  in  the  Mus.  of 
Berlin,  to  be  his  work.  Of  course  there  is  no  way  of  proving  this, 
but  the  whole  style  points  to  the  school  of  Lysippus. 

Boece,  C.  F.     See  Boetius. 

Boehm.     See  Beham. 

Boel,  Pieter,  born  at  Antwerp  (1625-1680).  He  studied  under 
Francis  Snyders,  but  completed  his  education  under  his  uncle,  Cor- 
nelius de  Wael,  at  Genoa.  He  was  very  nearly  allied  to  the  manner 
and  excellence  of  Snyders,  and  considered  a  fine  painter.  His 
pictures  are  rare.  At  Antwerp  then'  is  a  series  called  the  "Four 
Elements. "  Munich  Gall.,  No.  327,  represents  two  sporting  do^s 
guarding  dead  game  ;  very  fine.  His  etchings  were  also  fine,  and 
:.ike  place  among  the  rarest  works  of  the  kind.  A  series  of  six  plates 
of  Birds,  and  a  "  Wild  Boar  Hunt,"  merit  special  notice. 

Boethus  of  Chalcedon.  We  have  an  account  of  three  statues  of 
boys  by  this  sculptor.  The  "Boy  with  a  Goose,"  in  the  Louvre,  is 
copied  from  one  of  them. 

Boetiua  or  Boece,  Christian  Frederick,  born  at  Leipsic,  1706. 
Lived  chiefly  in  Dresden,  and  was  made  professor  of  the  Electoral 
Acad.  in  1764.  He  engraved  several  plates  from  the  pictures  in  the 
Dresden  Gall.,  for  the  volumes  published  in  1753  and  1757.  He  also 
engraved  some  portraits,  and  other  subjects. 

Boeyermamis,   Theodor,   born   at    Antwerp    (1620-1678.)     An 


116  BOEYERMANNS  —  BOL. 

excellent  painter,  and  imitator  of  Vandyck.  Was  made  a  member 
of  the  Antwerp  Guild  in  1654.  His  pictures  are  scarce.  Either  he 
did  not  put  his  name  on  them,  or  it  has  been  removed  in  order  to 
pass  them  as  Vandyck's.  The  Antwerp  Mus.  has  two  of  his  pictures : 
No.  403,  called  "  L'Ambassadeur,"  and  No.  404,  "  The  Pool  of 
Bethesda,"  a  large  composition  dated  1675.  His  works  are  also  in 
the  ch.  of  S.  James,  and  the  Convent  of  the  Jacobins  at  Antwerp, 
but  his  chef-d' ceuvre  is  a  representation  of  "  S.  Francis  Xavier  con- 
verting an.  Indian  prince  ' '  in  the  Jesuit  ch.  at  Ipres. 

Boissieu,  Jean  Jacques  de  (1736-1810).  An 
tJ7o  eminent  engraver,  who  has  left  about  sixty  charm- 
ino  plates.  They  are  of  landscapes  and  other 
subjects,  both  from  his  own  designs  and  those  of  other  artists.  He 
marked  his  plates  D.  B.,  with  the  date.  He  also  painted  some  por- 
traits, and  a  few  pictures  of  subjects  similar  to  those  of  Ostade. 

Boizot,  Louis  Simon  (1743-1809).  French  sculptor.  His  father 
was  a  designer,  and  at  the  age  of  nineteen  Louis  had  gained  the 
grand  prize  of  the  Royal  Acad.,  and  was  sent  to  Rome  by  the  king. 
The  group  of  allegorical  figures  in  the  Place  du  Chatelet  is  his  best 
work.  There  are  two  busts  executed  by  him  in  the  Gall,  of  Fontaine- 
bleau. 

Boizot,  Marie  Louise  Adelaide,  born  at  Paris,  1748.  She  was 
instructed  by  J.  J.  Flipart,  and  engraved  with  neatness  both  por- 
traits and  other  subjects. 

Bol,  Ferdinand,  born  at  Dortrecht,  1609  ;  died  at  Amsterdam, 
1681.  A  pupil  of  Rembrandt,  whose  style  he  followed  but  for  a 
time.  His  historical  subjects  are  not  skilful  in  composition,  and  his 
heads  have  a  tiresome  sameness,  while  his  color  was  too  yellow. 
The  force  of  his  pictures  is  astonishing,  and  yet  they  lack  refine- 
ment. His  portraits  were  his  best  efforts;  they  were  painted  in  full 
lights,  and  his  flesh  tones  were  truthful,  while  the  expression  was 
animated  and  life-like.  One  of  his  fine  early  works  is  a  portrait 
painted  in  1632,  Berlin  Mus.,  No.  810.  His  best  work  is  probably 
that  in  the  "  Leprosenhuys,"  at  Amsterdam,  in  which  a  doctor  is 
recommending  an  infected  boy  to  the  Regents.  The  heads  are 
masterly,  and  the  hands  are  finely  painted.  In  the  "  Huyssitten- 
Imvs  "  there  is  a  picture  of  the  same  kind.  Mr.  Baring  has  a  scene 
from  Guarini's  "  Pastor  Fido,"  and  a  couple  of  fine  portraits.  No. 
42,  Louvre,  is  also  a  portrait.  In  the  town-house  at  Leyden  there  is 
an  allegory  of  "  Peace,"  and  in  the  Dresden  Gall.,  No.  1203  repre- 
sents "  Joseph  presenting  Jacob  to  Pharaoh,"  and  No.  1205,  "David's 
Letter  concerning  Uriah."  These  last  are  of  the  best  of  his 
later  works.  Bol  was  also  an  engraver,  and  his  etchings,  though  not 
equal  to  those  of  his  master,  are  highly  esteemed.  His  lights  and 
shadows  are  good,  and  his  style  with  the  point  is  bold  and  free, 
rather  than  light  and  tasteful,  like  that  of  Rembrandt. 


BOL  —  BOLOGNINI.  117 

— ,  Bol,  Hans,  born  at  Mechlin,  1535;  died  at  Amsterdam, 

l-i  /<  1593.  An  engraver  and  painter.  At  first  he  attempted 
•^  large  pictures  in  size  colors,  but  afterwards  confined  him- 
self to  miniatures.  His  execution  was  good,  as  was  his  drawing  also, 
and  his  animals,  flowers,  etc.,  are  truthfully  represented,  as  well  as 
his  portraits.  He  used  his  pictures  for  the  decoration  of  books,  an 
example  of  which  may  be  seen  in  the  Imperial  Library  at  Paris, 
No.  708.  His  pictures  are  also  in  the  cabinet  of  engravings  at 
Berlin,  and  the  cabinet  of  miniatures  at  Munich.  He  etched  some 
plates  too,  from  his  own  designs,  which  have  considerable  merit. 

Boldrini,    Joseph    Nicolas.      A  wood  engraver. 
*t      There  is  much  difference  in  the  accounts  of  this  artist, 
but  his  plates  are  mostly  after  Titian,  and  it  is  thought 
that  he  studied  under  that  great  master.     His  plates  are  rare. 

Bologna,  Gio.  or  Giaii,  born  at  Douai  (1530?-1G08).  Called  II 
Fiammingo.  His  father  wished  him  to  be  a  notary,  but  his  taste  for 
sculpture  was  early  so  decided,  that  he  placed  him  with  an  artist 
named  Beuch,  who  had  studied  in  Italy.  From  this  master  he  went 
to  Rome,  and  at  length  settled  in  Florence.  He  founded  his  style 
upon  the  study  of  Michael  Angelo,  and  was  undoubtedly  the  best 
sculptor  of  his  time ;  but  his  works  show  the  decline  of  art,  when 
compared  with  those  of  the  fifteenth  century.  He  most  excelled  in 
the  representation  of  abstract  ideas,  which  gave  an  opportunity  for 
the  display  of  his  great  technical  skill.  In  the  treatment  of  religious 
subjects,  which  he  rarely  attempted,  he  was  less  successful.  Among 
his  best  works  may  be  mentioned  the  group  of  the  "  Rape  of  the 
Sabincs;"  the  equestrian  statue  of  Cosmo  I.,  in  the  Piazza  della 
Siunoria;  and  a  Mercury,  in  the  Uffizi.  A  group  of  "Hercules 
mid  Nessus,"  which  stands  near  that  of  the  Sabiues,  in  the  Loggia 
df'  Lanzi,  is  good,  but  not  equal  to  the  latter.  A  fountain  in  the 
l>ol»oli  irardcns;  ;i  Venus,  at  the  Villa  of  Petraca;  a  S.  Luke,  at  Or 
S.  Miclu'le,  and  a  representation  of  Victory  in  the  Palazzo  Vecchio, 
;uv  all  works  of  more  than  ordinary  merit.  These  are  but  a  small 
portion  of  the  works  of  Bologna.  The  "Rape  of  the  Sabines  "  is 
considered  his  cJtef-d'ceuiT<\  and  copies  of  the  Mercury  are  to  be  seen 
in  many  galleries  and  museums  of  art.  Flaxman  says  that  his 
"  Venus  coming  from  the  Bath,"  both  standing  and  kneeling,  "  are 
remarkable  for  delicacy  and  grace." 

Bolognese,  H.     See  Griinaldi. 

Bolognini,  Gio.  Batista,  born  at  Bologna  (1612-1689).  One  of 
the  best  pupils  of  Guido  Reni.  His  works  are  in  several  churches 
of  Bologna.  He  also  etched  some  plates  after  the  works  of  Guido, 
\vliich  an-  done  in  a  slight  and  spirited  manner. 

Bolognini,  Giacomo,  born  at  Bologna  (1664-1734).  A  nephew 
and  pupil  of  the  preceding,  he  became  a  painter  of  history.  His 
pictures  are  in  some  Bolognese  churches,  and  have  considerable 
merit. 


118 


BOLSWERT  —  BONCUORE. 


Bolswert  or  Bolsuerd,  Boetius  Adam, 
born  at  Bolswert  in  Friesland,  1580.  Where 
he  studied  -engraving  is  not  known,  but  he 
became  eminent  in  that  branch  of  Art.  He 
followed  the  manner  of  Cornelius  Bloemaert. 

He  settled  with  his  brother  Scheltius  in  Antwerp,  as  a  print-seller 
and  engraver.  He  used  the  graver  only.  His  finest  plates  are 
after  Rubens,  and  have  more  color  and  finish  than  his  others. 

Bolswert  or  Bolsuerd,  Scheltius  A., 
born  at  Bolswert,  1586.  A  very  eminent 
engraver;  in  truth,  one  of  the  most  so  of 
his  country.  His  plates  embrace  all  classes 
of  subjects,  but  he  was  especially  happy  in  representing  the  finest 
works  of  Rubens  and  Vandyck.  It  is  said  that  Rubens  often  re- 
touched his  proofs  with  chalk,  and  he  made  the  corrections  with  the 
graver.  He  never  used  the  point.  Some  of  these  proofs  are  in  the 
portfolios  of  lovers  of  the  curious. 

Bombelli,  Sebastian,  born  at  Udina  (1635-1685).  Pupil  of  Guer- 
cino.  Especially  distinguished  as  a  portrait  painter  and  a  copyist 
of  Paul  Veronese.  Boschini  says  that  in  his  imitation  of  Veronese, 
he  could  not  be  excelled.  In  early  life  he  painted  some  historical 
pictures  which  gave  promise  of  excellence,  but  portrait  painting 
promised  him  greater  rewards,  and  he  confined  himself  largely  to 
that  branch  of  painting.  He  travelled  through  Germany  and  painted 
portraits  of  many  eminent  persons  at  different  courts. 

Bonacina,  Gio.  Batista,  born  at  Milan,  1620.  An  engraver  who 
imitated  Cornelius  Bloemaert,  without  equalling  him.  His  style  is 
neat,  but  dry  and  stiff. 

.-  Bonasoni,  Giulio,  born  at  Bologna  about  1498.     A 

T\D     Pa^nter    and   ver7   emiment    engraver.       Some   of  his 

J    \fj      pictures  are  in  the  churches  of  Bologna,  but  it  is  as  an 

engraver  that  he  demands  attention.     He  was  instructed 

by  Marc  Antonio,  and  although  he  did  not  equal  him,  he  executed 

plates  after  the  works  of  some  of  the  best  masters  with  great  facility 

and  elegance.    He  used  the  graver  almost  entirely.    The  distribution 

of  lights  and  shadows,  and  breadth  in  the  masses  are  especial  points 

of  excellence  in  his  plates.     He  engraved  after  M.  Angelo,  Raphael, 

Giulio   Romano,  Parmegiano,  etc.,  and  also  several  plates  from  his 

own  designs. 

Bonatti,  Gio.,  born  at  Ferrara,  1635;  died  at  Rome,  1681.  Pupil 
of  Guercino,  and  a  protege  of  Card.  Carlo  Pio.  Later,  in  Rome,  he 
studied  with  P.  Francesco  Mola.  In  the  Gall,  at  the  Capitol  there 
are  works  of  his,  and  in  the  churches  of  Santa  Croce  in  Gerusa- 
lemme,  and  Chiesa  Nuova. 

Boncuore,  Gio.  Batista,  born  at  Abruzzo  (1643-1699).  Pupil  of 
Francesco  Albano.  His  best  characteristic  is  force  and  vigor  of  effect 
One  of  his  best  works  is  in  the  Chiesa  degli  Orfanelli  at  Rome. 


BONE  —  BONIFAZIO.  119 

Bone,  Henry,  born  at  Truro  in  Cornwall  (1755-1834).  He  was 
a  manufacturer  of  china,  but  became  an  eminent  enameller.  He 
was  first  distinguished  by  his  copies  of  the  "  Sleeping  Girl  "  by  Sir 
Joshua  Reynolds,  but  his  greatest  work  was  the  '  *  Portraits  of  the 
Illustrious  Men  and  Women  of  England,"  which  he  reproduced  in 
enamel.  Since  his  death  they  have  been  bought  by  collectors  of  the 
beautiful.  He  was  a  member  of  the  Royal  Acad. 

Bonesi,  Gio.  Girolamo,  born  at  Bologna  (1653-1725).  Scholar 
of  Gio.  Viani.  He  imitated  Carlo  Cignani.  His  works  may  be  seen 
in  the  churches  of  S.  Marino,  S.  Biagio,  the  Certosa,  and  other 
public  edifices  of  Bologna. 

Bonfanti,  Antonio.  An  artist  of  Ferrara,  called  II  Torricella. 
His  pictures  are  in  the  public  edifices  of  that  city.  The  most 
esteemed  are  the  "  Holy  Family,"  in  the  ch.  of  La  Santissima 
Trinita,  and  "  Christ  in  the  Temple,"  at  S.  Francesco. 

Bonfigli,  or  di  Buonfiglio,  Benedetto,  born  at  Perugia  (1420  ?- 
1496?).  He  was  superior  to  all  the  Umbrians  of  his  time,  except 
Piero  della  Francesca,  and  must  have  been  acquainted  with  the 
classic  art  of  Florence.  His  works  were  considered  the  greatest 
ornament  of  Perugia.  His  largest  work  was  the  Hall  of  the  Palazzo 
Comunale,  which  he  decorated  with  scenes  from  the  lives  of  S.  Louis 
of  Toulouse  and  S.  Ercolano.  They  were  commenced  in  1454,  and 
were  not  finished  in  1496.  The  progress  of  painting  in  his  time  is 
well  illustrated  in  the  works  of  Bonfigli,  and  they  prepare  the  way 
for  the  excellence  of  Perugino.  Besides  the  Hall  already  mentioned 
he  undertook  the  chapel  of  the  "  Magistrate,"  and  a  Brutus  in  the 
refectory  of  the  Priori  in  the  Palazzo  Comunale.  For  S.  Domenico 
he  painted  an  "  Adoration  of  the  Magi,"  now  No.  18,  Perugia 
Gall.  ;  for  the  company  of  S.  Bernardino,  a  banner,  1465  ;  a 
"  Virgin  of  Mercy,"  1478,  and  many  works  which  testify  to  his  great 
industry.  Vasari  says  that  Pinturicchio  was  the  assistant  and  friend 
of  Bonfigli,  and  Lanzi  says  that  Perugino  was  his  pupil.  Whether 
tin-so  artists  were  associated  with  him  or  not,  they  undoubtedly 
profited  by  his  example,  and  were  indebted  to  him  for  giving  a 
consideration  to  Perugian  art,  which  had  not  before  belonged  to  it. 

Boni,  Giacomo,  born  at  Bologna  (1688-1766).  Pupil  and  as- 
sistant of  Marc  Antonio  Franceschini.  Said  also  to  have  studied 
under  Carlo  Cignani,  whose  style  is  imitated  in  some  of  his  frescoes, 
such  as  the  ceilings  of  S.  Pietro  Celestini  at  Bologna,  and*  S.  Maria 
della  Costa  at  S.  Remo.  A  picture  of  the  "  Infant  Jupiter,"  and  a 
saloon  at  the  Palazzo  Pallavicino,  by  this  master,  are  much  admired. 

Bonifaccio,  Francesco,  born  at  Viterbo,  1637.  Pupil  of  Pietro 
da  Cortona.  His  works  were  in  the  public  edifices  of  Viterbo,  and 
possessed  considerable  merit.  In  the  Palazzo  Braschi  is  his  picture 
of  the,  ''  Woman  taken  in  Adultery." 

Bonifazio,   Veiieziuno    (1494-1563).       A    pupil   of    the   elder 


1 20  BONIFAZIO  —  BONVICINO. 

Palma,  and  an  imitator  of  Titian.  In  color  lie  approaches  the  last- 
named  master,  and  is  altogether  an  eminent  example  of  what  patient 
application  can  do  even  when  great  talent  is  wanting.  There  are 
many  works  of  his  in  Venice.  His  most  pleasing  pictures  are  those 
of  simple  arrangement,  such  as  Saints  and  Holy  Families.  "  The 
Rich  Man's  Supper,"  in  the  Acad.  at  Venice,  is  one  of  his  best 
works.  His  latest  pictures  are  weak  and  mannered. 

Bonington,  Richard  Parkes,  born  at  Arnold,  Nottingham  (1801- 
1828).  A  fine  landscape  and  marine  painter.  He  copied  in  the 
Louvre,  was  a  student  in  the  £cole  des  Beaux  Arts,  and  occasionally 
attended  the  studio  of  Baron  Gros.  He  visited  Italy,  and  painted 
some  pictures  in  Venice.  He  exhibited  a  few  pictures  at  the  Eoyal 
Acad.  before  his  death,  but  since  the  International  Exhibition  of 
1862,  he  has  been  more  appreciated  in  England. 

Bonone,  Carlo,  born  at  Ferrara  (1569-1632).  Pupil  of  Giuseppe 
Mazzuoli.  He  visited  Bologna,  and  so  admired  the  works  of  the 
Caracci,  that  he  copied  some  of  their  principal  pictures;  he  went  to 
Venice,  and  to  Parma,  where  he  studied  the  excellences  of  Paul 
Veronese  and  Correggio.  His  small  pictures  are  in  the  style  of  the 
Caracci,  but  his  larger  works  are  more  akin  to  those  of  Paul 
Veronese.  Many  of  his  works  are  in  the  public  edifices  of  Ferrara, 
and  some  of  the  best  Ferrarese  painters  were  his  pupils. 

Bonsignori,  Francesco,  born  at  Verona  (1455-1519).  Little  is 
positively  known  of  this  old  master,  although  many  of  his  works 
remain  in  Verona  and  Mantua,  and  specimens  are  to  be  seen  in  many 
of  the  large  galleries  of  Europe.  Vasari  calls  him  a  pupil  of  Man- 
tegna,  but  this  seems  improbable,  upon  a  careful  examination  of  his 
works,  as  a  change  in  his  manner  about  1484  indicates  that  he  came 
under  the  influence  of  Mantegna  at  that  time.  He  was  patronized 
by  the  Marquis  Francesco  Gonzaga,  who  gave  him  a  salary  and  a 
house  in  1487. 

Bonvicino,  Alessandro,  called  II  Moretto  di  Brescia,  born  at 
Brescia  (1500-1547).  At  first  he  imitated  Titian,  but  afterwards 
studied  the  Roman  school,  and  produced  a  manner  full  of  grace, 
stateliness,  and  simple  dignity.  His  oil  pictures  were  better  than  his 
frescoes,  and  his  best  works  were  quiet  altar-pieces,  for  he  did  not 
succeed  in  the  action  necessary  to  historical  painting.  He  has  left 
fine  works  in  his  native  city,  and  his  pictures  are  to  be  seen  in 
Vienna,  Frankfort,  Berlin,  the  Louvre,  etc.  A  large  altar-piece, 
representing  "  The  Virgin  between  SS.  Anthony  and  Sebastian," 
in  the  St'adel  Institute,  Frankfort,  is  worthy  of  notice.  A  colossal 
u  Adoration  of  the  Shepherds,"  Berlin  Mus.,  is  excellent.  In  the 
Imp.  Gall.,  Vienna,  there  is  a  fine  picture  of  S.  Justina,  with  the 
Duke  of  Ferrara  (called  a  Pordenone)  kneeling  beside  her,  which 
has  been  engraved  by  Rahl.  His  portraits  have  been  likened  to 
those  of  Titian,  and  he  was  the  master  of  Moroni.  The  National 


BON  VICING  —  BOONEN. 


121 


A    GLORIFIED    MADONNA.       BY    IL   MORETTO. 

Berlin  Mus. 

Gall,  has  a  portrait,  and  a  picture  of  S.  Bernardino  and  other  saints, 
which  is  very  fine.     His  works  arc  numerous. 

Booneii,  Arnold  Van,  born  at  Dortrecht  (1669-1729).  Pupil  of 
Schalken.  He  painted  portraits  and  genre  pictures.  He  is  not 
equal  to  his  master,  whom  he  closely  imitated.  His  pictures  are 
taken  frequently  by  candle-light.  In  the  Dresden  Gall.  No.  1579, 
two  young  men,  one  smoking,  is  truthful  and  full  of  feeling.  Nos. 
1570  to  1582  are  also  by  Boonen.  He  executed  some  large  pictures 
for  the  different  companies  of  Dort  and  Amsterdam,  and  the  portraits 
of  many  distinguished  personages. 


122 


BORDONE. 


8.  JUSTINA  AND  ALPHONSO  I.    OF  FERRAKA.      BY  IL  MORETTO. 

Belvedere,  Vienna. 

Bordone,  Paris,  born  at  Trevigi  (1500-1570).  His  portraits 
were  his  best  works,  and  for  them  he  is  distinguished.  He  was  of 
noble  family,  and  well  educated  before  he  entered  the  school  of 
Titian.  Many  of  his  female  portraits  are  in  the  Uffizi;  the  Manfrini 
Coll.,  Venice;  the  Belvedere  and  Esterhazy  galleries,  Vienna;  and  in 
other  places.  All  his  heads  are  fine,  and  some  of  them  closely 
resemble  Titian.  Two  of  his  larger  works  are  in  the  Berlin  Mus., 
but  the  best  of  this  class  is  in  the  Acad.  of  Venice,  and  represents 
the  fisherman  presenting  the  ring  of  S.  Mark  to  the  Doge;  it  is 


BORDONE  —  BORGIANI. 


123 


splendidly  executed.  Bordone  was  invited  to  France  by  Francis  I., 
and  painted  the  portraits  of  the  king  and  many  of  the  nobility. 

Borgani,  Francesco,  born  at  Mantua.  Flourished  in  the  middle 
of  the  17th  century.  Scholar  of  Domenico  Feti.  Lanzi  says  this 
artist  merits  more  attention  than  he  receives.  His  works  are  in  the 
churches  of  Mantua. 

Borgiani,  Orazio,  born  at  Rome  (1577-1615).  Studied  with  his 
brother  called  Scalzo.  Copied  the  works  of  the  masters  of  Rome. 
A  man  of  violent  temper.  Riding  one  day  in  a  coach,  at  Rome,  he 
saw  some  artists,  among  whom  was  Caravaggio,  laughing  at  him;  he 
sprang  from  the  carriage,  seized  a  bottle  of  varnish  from  the  shop  of 
a  druggist,  and  threw  it  at  the  heads  of  the  offenders.  He  passed 
some  years  in  Spain,  where  he  was  well  received  and  patronized,  and 
on  his  return  to  Rome  was  employed  by  the  Spanish  ambassador. 


CORONATION  <>!     I  111:  VIKGIN.      BY  BORGOGNONE. 

Iu  S.  Siiupliciano,  Milan. 


124  BORGIANI  —  BOKZONE. 

His  works  may  be  seen  in  some  churches  of  his  native  city,  and  he 
also  left  a  few  plates  etched  in  a  free,  bold  manner. 

Borgognone,  Ambrogio.  Flourished  about  1500,  born  at  Milan. 
His  pictures  are  by  no  means  excellent,  but  his  heads  arc  gentle  and 
meek  in  expression ;  and  sometimes  they  have  a  peculiarly  austere  and 
mournful  look.  His  works  may  be  see  in  Milan,  especially  in  the  ch. 
of  S.  Ambrogio;  in  Pavia  the  frescoes  in  the  Carthusian  Convent, 
formerly  ascribed  to  Bramante,  are  by  Borgognone.  In  the  Berlin 
Mus.  there  are  two  works  by  this  artist,  one  of  which,  an  "  Enthroned 
Madonna,"  has  a  high  reputation. 

Borras,  Nicholas,  born  at  Cocentayna,  1530;  died  at  Gandia,  1610. 
A  priest,  monk,  and  painter.  He  studied  with  Joanes  at  Valencia, 
and  was  his  most  ^eminent  disciple.  He  took  orders  and  lived  as  a 
priest  in  his  native  town,  continuing  to  paint  meanwhile.  At  length 
he  went  to  the  convent  of  the  Jeronymites  at  Gandia,  to  paint  some 
pictures  for  their  high-altar.  When  his  work  was  ended  Ife  refused 
all  payment,  and  desired  that  the  habit  of  their  order  should  be  given 
him.  This  was  done  and  he  remained  in  the  convent  three  years, 
but  hoping  to  find  a  stricter  discipline,  he  went  to  a  Franciscan 
monastery  near  Valencia.  He  did  not  remain  long,  and  returning  to 
Gandia,  passed  the  rest  of  his  life  there.  His  industry  was  wonder- 
ful, and  the  number  of  his  works  immense.  He  not  only  gave  his 
time  and  skill  to  his  convent,  but  also  devoted  goodly  sums  of  money 
for  the  comfort  and  elegance  of  its  appointments.  He  hired  sculptors 
and  decorators  at  his  own  expense,  and  came  to  be  considered  a 
benefactor  to  his  community.  While  he  lived  fifty  masses  were  said 
yearly  for  his  soul.  The  Mus.  of  Valencia  has  more  of  the  pictures 
of  Borras  than  of  any  other  artist.  There  are  about  fifty  of  them, 
mostly  on  panel.  His  style  is  similar  to  that  of  his  master;  his  heads 
are  often  striking,  and  his  accessories  finished  with  great  care  and 
minuteness.  His  coloring  is  colder  than  that  of  Joanes. 

Borrekens,  John  Peter  Francis,  born  at  Antwerp  (1747-1827). 
A  painter  of  landscapes,  which  were  often  ornamented  with  figures 
and  cattle  by  other  masters. 

Borrekens,  Matthew,  born  at  Antwerp,  1615.  An  engraver, 
who  was  chiefly  employed  in  copying  the  plates  of  eminent  engravers 
for  print-sellers.  He  worked  entirely  with  the  graver,  and  imitated 
Pontius  without  equalling  him. 

Borsum,  Abraham  van.  A  painter  of  landscapes,  birds, 
animals,  etc.  His  pictures  resemble  Rembrandt's  in  color.  His 
drawings  are  highly  esteemed  in  Holland,  and  sell  for  large  sums. 

Borsum,  Adam  van.  Flourished  1666.  A  painter  of  animals 
who  imitated  A.  Vandermeer  and  Paul  Potter.  His  color  is  good, 
and  his  drawing  free  and  spirited. 

Borzone,  Luciano,  born  at  Genoa  (1590-1645).  Pupil  of  his 
uncle,  Filippo  Bertolotti.  Painted  history,  but  excelled  most  in  por- 


BORZONE  —  BOSCH.  125 

traits.  In  the  ch.  of  S.  Spirito,  Genoa,  there  is  a  "Baptism  of 
Christ,"  and  in  S.  Domenico  a  "Presentation  in  the  Temple,"  by 
this  master.  He  fell  from  his  scaffolding  in  the  Chiesa  della  Nunzi- 
ata,  and  was  killed.  Soprani  says  his  house  was  the  resort  of  culti- 
vated people,  and  he  himself  a  man  of  great  attainments.  He  left  a 
few  plates  etched  from  his  own  designs.  His  three  sons,  Gio.  Ba- 
tista, Carlo  and  Francesco  Maria,  were  all  painters,  and  the  latter 
excelled  in  landscapes. 

Bos  or  Bosche,  Jerome,  born 
at  Bois  le  Due,  1470.  A  painter 
and  engraver.  He  represented 
very  singular  and  grotesque  sub- 
jects, such  as  devils,  spectres,  etc. 
These  are  treated  with  wonderful  ingenuity.  He  sometimes  painted 
more  serious  subjects,  such  as  the  "  Flight  into  Egypt,"  and  "  Christ 
bearing  his  Cross."  A  very  singular  picture  of  his  represents  "  Christ 
delivering  the  ancient  Patriarchs  from  Hell."  Judas  attempts  to 
escape  also,  and  is  seized  by  devils,  who  suspend  him  in  the  air. 
There  arc  so  many  works  by  this  artist  in  Spain,  that  it  has  been 
thought  he  must  have  gone  there.  At  the  Royal  Gall.,  Madrid,  there 
are  the  ' '  Fall  of  Lucifer  and  the  Angels  ;  "  "  Adam  and  Eve  driven 
from  Eden;  "  and  the  "  Triumphs  of  Death,"  which  is  a  very  singu- 
lar picture.  Death,  scythe  in  hand,  gallops  on  his  white  horse,  driv- 
ing multitudes  to  the  land  of  shades.  Tin-  entrance  is  fortified  by 
coffins,  and  guarded  by  skeletons.  Behind  Death  follows  a  sort  of 
dead-cart,  to  take  up  the  slain.  In  the  foreground  there  is  a  com- 
pany of  revellers,  and  ;i  king  falls  dead.  The  plates  of  this  artist 
represent  the  same  fantastic  subjects.  They  are  in  the  stiff  Gothic 
style,  and  are  much  prized  by  collectors.  His  manner  of  represent- 
ing his  bizarre  conceptions  was  almost  demoniacal.  He  founded  u 
style  which  other  artists  adopted.  His  execution  was  careful  and 
sharp.  Among  his  works  are,  Berlin  Mus.,  No.  563,  "  The  Last 
Judgment;"  Antwerp  Mus.,  No.  41,  "Temptation  of  St.  An- 
thony." The  family  name  of  Bosch  was  Agnen;  he  was  called 
Bosch  from  Herzogenbusch,  the  German  name  for  his  birthplace. 

Bos,  Lewis  Janssen  or  John,  born  at  Bois  le  Due  (1450-1507). 
A  painter  of  small  portraits,  flowers,  fruits,  etc.  He  finished  with 
extreme  nicety,  and  the  insects  on  his  plants  were  painted  with 
surprising  truth. 

Bos,  Gaspar  van  den,  born  at  Hoorn  (1G34-1666).  A  painter  of 
marine  subjects.  His  storms  and  calms,  with  ships,  have  consider- 
able merit  in  color  and  finish. 

'  Bosch  or  Bossche,  Balthasar  van  den,  born  at  Antwerp  (1681- 
1715).  Painted  interiors  with  great  success.  His  pictures  were 
very  popular.  He  also  succeeded  in  small  portraits.  The  Duke  of 
Marlboruugh  was  attracted  by  his  fame,  and  sat  to  him  for  his 


126  BOSCH  —  BOSIO. 

picture.  He  was  represented  on  horseback,  and  the  horse  was  done 
by  Peter  van  Bloemen.  His  pictures  were  well  arranged,  his  heads 
had  life  and  expression,  and  his  color  was  warm.  Antwerp  Mus., 
No.  448,  "  Reception  of  a  Burgomaster  of  Antwerp  in  the  younger 
Guild  of  Cross-bow  Shooters." 

Boschaert,  Nicholas,  born  at  Antwerp,  1696.  A  fine  painter  of 
flowers  and  fruits. 

Boschi,  Fabrizio,  born  at  Florence  (1570-1642).  A  pupil  of 
Domenico  Passignani.  At  nineteen  he  surprised  the  artists  of  his 
day  by  his  excellence.  The  "  Martyrdom  of  SS.  Peter  and  Paul," 
painted  for  the  Certosa  at  Florence,  and  an  "  Assumption  of  the 
Virgin  "  in  the  ch.  of  the  Convent  of  S.  Lucia,  are  among  his  best 
works. 

Boschi,  Francesco,  born  at  Florence  (1619-1675).  An  excellent 
portrait  painter. 

Boschiiii,  Marco,  born  at  Florence,  1613.  Pupil  of  Palma,  and 
an  imitator  of  II  Tintoretto.  His  ' '  Last  Supper, ' '  in  the  Sacristy  of 
S.  Girolamo,  at  Venice,  is  one  of  his  best  works.  He  was  a  dis- 
tinguished engraver,  and  wrote  a  book  called  ' '  La  Carta  del  Navegar 
Pittoresco."  He  signed  his  plates  Marcus  Boscliinius. 

Boscoli,  Andrea,  born  in  Florence  (1550V-1606).  Scholar  of 
Santo  de  Titi.  Painted  history  with  some  merit,  also  portraits  with 
good  success ;  that  of  himself  is  in  the  Florentine  Gall. 

Boselli,  Antonio,  flourished  about  1500.  Little  is  known  of  his 
life.  He  was  a  sculptor  and  painter.  At  Bergamo,  believed  to  have 
been  his  native  place,  in  the  ch.  of  S.  Cristoforo,  there  is  a  picture 
of  "  SS.  Peter,  Paul,  and  Luke,"  inscribed,  Hoc  opus  Antonium  scito 
pinxisse  Bosellum,  die  23  Februarii,  1509.  In  the  ch.  of  the  Augus- 
tines  there  are  other  works  of  his. 

Boselli,  Felice,  born  at  Piacenza  (1650-1732).  He  copied  the 
old  masters  to  perfection,  and  his  copies  are  numerous,  but  are 
seldom  attributed  to  him,  as  they  pass  for  originals.  He  attempted 
historical  painting,  but  afterwards  painted  birds,  animals,  etc. 
These  pictures  are  much  esteemed  in  Piacenza,  and  are  in  the  best 
collections. 

Bosio,  Francis  Joseph,  born  at  Monaco  (1769-1845).  Pupil  of 
Pajou,  but  he  formed  his  style  by  the  study  of  the  antique.  He  was 
chief  sculptor  of  the  King  of  France,  and  his  most  beautiful  works 
are  in  Paris.  He  executed  many  busts  of  the  royal  family  and  men 
of  note.  The  bas-reliefs  of  the  column  in  the  Place  Venddme  were 
from  his  designs.1  Hercules  struggling  with  Achelous  transformed 
into  a  serpent,  in  the  Garden  of  the  Tuileries  (bronze)  ;  the  eques- 
trian statue  in  the  Place  des  Victoires;  the  statues  of  France  and' 
Truth,  at  the  grave  of  Malesherbes;  the  figure  of  the  King  of  Rome; 
and  the  triumphal  chariot  of  the  arch  in  the  Place  du  Carrousel;  the 
nymph  Salmacis,  and  a  Hyacinth,  in  the  Gall,  of  the  Luxembourg, 
1  A  portion  by  Busio ;  others  by  Bergeret. 


BOSIO  —  BOTTICELLI.  127 

are  some  of  his  best  works.  In  1830  Bosio  completed  the  monument 
of  the  Countess  Demidoff.  He  was  also  engaged  on  the  monument  of 
Louis  XVI.  Bosio  was  a  Knight  of  the  Legion  of  Honor,  and  the 
Order  of  S.  Michael ;  and  a  member  of  the  French  Institute  and 
Royal  Acad.  of  Fine  Arts  at  Berlin. 

Bosschaert,  Thomas  Willeborts,  born  at  Bergen-op-Zoom, 
1613;  died  at  Antwerp,  1656.  Pupil  of  Gerard  Segers.  He  went  to 
Italy  and  remained  four  years.  His  pictures  were  fine  and  bear 
comparison  with  those  of  the  firstf  masters  of  his  country.  His 
picture  of  the  "  Martyrdom  of  S.  Basil  "  is  in  the  ch.  of  the  Capu- 
chins at  Brussels;  the  "  Martyrdom  of  S.  James  "  in  the  ch.  of  that 
saint  at  Bruges;  and  in  the  House  in  the  Wood  at  the  Hague  is  his 
emblematical  picture  of  "  Peace  and  War."  He  was  a  member  of 
the  Antwerp  Acad. 

Bosse,  Abraham,  born  at  Tours,  1610.  He  wrote  a  treatise 
callen  "  La  Maniere  de  Graver  a  1'eau  forte,  et  au  Burin."  He 
left  a  good  number  of  plates,  principally  from  his  own  designs. 
They  are  bold  and  masterly,  etched  with  unusual  spirit  and  freedom. 

Both,  Jail  and  Andries.  These  brothers  were  so  united  in  life 
that  no  separate  story  can  be  told  of  them.  They  were  born  at 
Utrecht  about  1609-1610.  Their  father  painted  glass;  they  were 
pupils  of  Abraham  Bloemaert,  and  went  to  Italy,  where  Jan, 
cluinncd  by  the  scenery,  gave  himself  to  landscape  painting,  while 
Andries  ornamented  his  pictures  by  figures,  and  painted  some  other 
subjects  by  himself.  Of  these  last,  No.  1214,  Dresden  Gall.,  is  a 
good  example.  He  also  left  etchings  (ten),  which  are  especially 
good.  Jan  succeeded  in  both  large  and  small  pictures  ;  the  most 
apparent  fault  in  them  is  their  sameness.  So  much  in  harmony  did 
the  brothers  paint,  that  one  would  not  imagine  their  works  not  done 
by  one  hand.  The  National  Gall.,  No.  71;  the  Louvre,  No.  43; 
Amsterdam  Mus.,  Nos.  37  and  38;  and  Nos.  17  and  18  at  the  Hague, 
are  all  good  examples  of  their  style.  The  ten  landscapes  etched  by 
Jan  are  equally  as  good  as  his  pictures.  He  also  well  engraved  the 
"  Five  Senses,"  designed  by  Andries.  Andries  was  drowned  in  a 
canal  in  Venice  in  1645  ;  and  Jan  returned  to  Utrecht,  but  did  not 
survive  his  brother  more  than  five  years. 

Bottala,  Gio.  Maria,  born  at  Savona,  1613;  died  at  Milan,  1644. 
Went  to  Rome  and  studied  under  Pietro  da  Cortona,  whom  he 
always  imitated,  although  he  was  called  Kailuellino,  from  his  love 
for  the  works  of  the  great  master.  His  works  are  principally  in  the 
churches  of  Naples  and  Genoa.  One  of  his  best  pictures,  the 
"  Meeting  of  Jacob  and  Esau,"  was  placed  in  the  capitol  by  Bene- 
dict XIV.  Card.  Sachetti  was  the  friend  and  patron  of  Bottala. 

Botticelli,  Saudro.  Real  name  Alessandro  Filipepi,  called 
Botticelli  from  his  first  master,  a  goldsmith.  Born  in  Florence 
(1447-1515).  Scholar  of  Fra  Filippo  Lippi,  and  twenty-two  years 


1 28  BOTTICELLI  —  BOUCHER. 

old  at  the  death  of  that  master.  Vasari  says  that  at  that  time 
Botticelli  was  the  best  artist  in  Florence.  His  religious  pictures  are 
wanting  in  deep  feeling,  but  have  a  certain  sweetness  and  warmth 
which  appeal  to  the  heart  more  than  the  colder  works  of  other 
artists,  and  even  those  of  Ghirlandaio  may  be  included  in  the  list. 
In  historical  works  he  displayed  his  fanciful  conception  of  his  sub- 
ject, united  with  the  impetuous  energy  of  Filippo.  He  endeavored 
to  raise  his  subjects  above  the  ordinary  mode,  and  also  represented 
myths  and  allegories.  About  1474  he  was  employed  in  the  Sistine 
Chapel,  and  painted  three  large  pictures,  besides  twenty-eight  figures 
of  Popes  between  the  windows.  The  large  works  are  full  of  action, 
the  figures  are  expressive,  and  the  landscapes  beautiful.  Of  his 
allegories,  that  of  "  Calumny,"  at  the  Uffizi,  is  most  remarkable. 
The  "  Birth  of  Venus,"  in  same  Gall.,  is  naively  sweet.  These 
works  prove  him  to  have  been  a  student  of  ancient  architecture,  and 
antique,  classical  statuary.  His  later  works  were  finer  than  his 
earlier  ones,  and  he  received  many  honorable  commissions.  Lorenzo 
de'  Medici  was  his  employer ;  he  was  of  the  number  consulted  re- 
garding the  placing  of  Michael  Angelo's  "  David,"  and  his  name  is 
frequently  met  in  Florentine  papers  of  his  time.  During  the  very 
last  of  his  life  he  degenerated,  and  his  pictures  of  that  period  are 
poor  and  weak.  He  died  in  comparative  poverty.  His  works  are 
very  numerous.  There  are  many  in  Florence,  some  in  Rome  and 
other  Italian  cities,  and  they  are  to  be  seen  in  the  Louvre,  the 
Rational  Gall.,  the  galleries  of  Berlin,  Dresden,  Vienna,  Munich, 
etc.,  and  in  private  collections.  Botticelli  also  engraved  a  number 
of  plates. 

Bouchardon,  Edme,  born  at  Chaumont,  1698 ;  died  at  Paris, 
1762.  Studied  first  with  his  father,  and  then  at  Paris,  under  Cous* 
ton.  He  obtained  the  first  prize  of  the  Acad.  and  went  to  Rome, 
where  he  diligently  copied  from  the  antique  and  executed  a  bust  of 
Pope  Clement  XIL  He  made  a  copy  of  the  "  Barberini  Faun,"  now 
in  the  Gall,  at  Munich.  His  most  celebrated  works  were  the  "  Fouri^ 
tain  of  Grenelle,"  and  the  equestrian  statue  of  Louis  XV.  in  the1 
Garden  of  the  Tuileries,  upon  which  Bouchardon  labored  for  twelve" 
years,  and  which  was  destroyed  in  1792.  Some  of  his  works  may 
be  seen  in  the  gardens  of  Versailles  and  Choisy,  and  in  the  choir  of 
the  ch.  of  S.  Sulpice.  We  have  also  a  few  etchings  by  this  artist* 

Boucher,  Francois,  born  at  Paris  (1704-1770).  One  of  the 
most  mannered  of  French  painters.  Wornum  says  he  appeared 
"  to  have  discovered  a  new  race  of  human  beings."  He  went  to 
Italy,  was  a  member  and  director  of  the  French  Acad.,  and  ap- 
pointed principal  painter  to  Louis  XV.  in  1765.  He  was  also  super- 
intendent of  the  tapestry  manufactory  at  Beauvais.  His  pictures  are 
of  a  decorative  type.  He  painted  all  subjects  in  one  manner.  In 
his  own  style  he  could  scarcely  be  equalled,  not  to  say  surpassed,  and 


BOUCHER  —  BOURDON.  1 29 

his  influence  was  bad,  on  account  of  the  numbers  who  became  his 
imitators.  His  form  and  color  were  at  fault,  and  yet,  for  decoration 
on  tapestry,  his  works  have  much  beauty.  His  pastoral  subjects 
were  his  best,  and  he  thoroughly  mastered  the  mechanism  of  art. 
He  left  several  slight  etchings. 

Boucquet,  Victor,  born  at  Furnes  (1619-1677).  His  works  are 
found  in  many  Flemish  towns.  He  painted  history,  and  his  pictures 
are  well  composed  and  well  colored.  The  best  altar-piece  in  the  ch. 
at  Ostend  represents  the  "  Descent  from  the  Cross,"  and  is  by 
Boucquet;  and  in  the  great  ch.  and  Town  H#ll  of  Newport  are  some 
of  his  best  works. 

Boulanger,  John,  born  at  Troyes,  1613.  An  engraver  who 
adopted  and  improved  upon  the  manner  of  John  Morin,  in  finishing 
flesh  with  dots,  which  gave  a  very  soft  appearance.  The  draperies 
and  background  were  harsh  in  contrast  with  the  other  parts,  but  his 
plates  are  well  esteemed  and  have  a  good  degree  of  merit. 

Boullongne,  Louis,  the  Elder,  born  at  Paris  (1609-1674).  A 
painter  of  history,  professor  of  the  Acad.,  and  painter  to  the  king. 
His  best  works  are  in  the  Cath.  of  Notre  Dame,  at  Paris.  He 
etched  three  plates:  the  "Miracle  of  S.  Paul  at  Ephesus;  "  the 
"  Martyrdom  of  S.  Paul ;"  and  the  "  Rape  of  Helen,"  after  Guido. 

Boullongne,  Bon,  born  at  Paris  (16407-1717).  Son  of  the 
preceding.  He  gained  a  prize  at  the  Paris  Acad.,  and  received  a 
pension  from  the  king  with  which  to  go  to  Rome,  where  he  re- 
mained five  years,  and  then  visited  other  parts  of  Italy.  Louis  XIV. 
employed  him  at  Versailles,  where  he  worked  under  Le  Brim.  He 
also  painted  in  several  churches  in  Paris.  He  excelled  in  Pastici,  or 
the  imitation  of  other  artists,  without  being  actually  a  copyist.  He 
left  several  etch  ings. 

Boullongne,  Louis,  the  Younger,  born  at  Paris;  died  1734.  Son 
of  Louis  the  Elder.  Having  taken  a  prize,  was  sent  to  Rome.  On 
his  return  was  made  painter  to  Louis  XIV.,  and  was  employed  at 
Fontaineldeaii  and  in  the  Chateau  of  Meudon.  Some  of  his  best 
works  are  in  Notre  Dame.  His  pictures  are  correct  in  drawing, 
vigorous  in  color,  and  his  heads  have  character  and  expression.  He 
used  the  point  also,  and  left  eight  etchings  of  religious  subjects. 

Bouman,  P.,  born  at  Dort,  about  1 764.  A  painter  of  landscapes 
and  similar  subjects  whose  works  are  much  esteemed. 

Bourdon,  Sebastian,  born  at  Montpelier  (1616-1671).  After 
studying  in  Italy,  he  established  his  reputation  by  a  picture  of  the 
"  Crucifixion  of  S.  Peter,"  now  in  the  Louvre;  he  was  one  of  the 
original  twelve  anciens  of  the  Acad.;  he  went  to  Sweden  for  several 
years,  but  returned  to  Paris,  and  was  Rector  of  the  Acad.  of  Painting 
when  he  died.  His  landscapes  were  his  best  works,  and  resembled 
those  of  Salvator  Rosa.  He  also  painted  a  few  genre  pictures,  and 
two  portraits  of  himself,  which  are  in  the  Louvre,  in  one  of  which 
9 


130  BOURDON  —  BOYDELL. 

he  was  assisted  by  Rigaud.  The  National  Gall,  has  a  fine  picture 
by  Bourdon.  He  was  skilful  in  handling  the  point,  and  his  plates 
are  valued  by  collectors. 

Bourgeois,  Sir  Francis,  born  in  London  (1756-1811).  His 
family  were  Swiss.  Pupil  of  De  Loutherbourg,  whom  he  did  not 
perfectly  imitate.  He  was  a  close  student  of  nature,  and  painted 
very  exactly  from  his  subjects.  This  is  especially  seen  in  his  half- 
dead  trees  and  gnarled  roots.  His  cottages  are  very  good,  similar  to 
those  of  Barker,  and  his  pastoral  scenes  well  arranged.  His  gypsies, 
cattle,  etc.,  are  grouped  in  the  manner  of  Gainsborough.  He  was 
invited  to  ^Poland,  and  although  he  did  not  accept  the  invitation, 
was  appointed  painter  to  the  king,  and  made  a  knight  of  the  Order 
of  Merit.  He  was  a  friend  of  Mr.  Desenfans,  who  bequeathed  him 
valuable  paintings,  which  he  gave  at  his  death  to  Dulwich  College. 

Bousseau,  Jacques,  born  at  Chavaignes-en-Poitou,  1671;  died  at 
Madrid,  1 740.  Pupil  of  Nicolas  Couston.  He  rapidly  rose  to  the 
rank  of  professor  of  sculpture  in  the  Royal  Acad.  There  are  several 
statues  by  him  in  the  Cath.  of  Notre  Dame;  and  he  executed  the 
grand  altar  of  the  Cath.  at  Rouen,  and  the  Tomb  of  Cardinal 
Dtibois  in  S.  Honore.  He  was  invited  to  Spain  and  appointed 
principal  sculptor  to  the  king.  He  lived  many  years  at  Madrid,  and 
executed  several  fine  works. 

Bout,  Pieter  and  Nicholas,  or  Anton  Frans  Boudewyns. 
Natives  of  Brussels  who  flourished  about  1700.  They  executed  to- 
gether a  great  number  of  pictures  which  are  midway  between  land- 
scapes and  genre  subjects.  Boudewyns  painted  the  landscapes,  and 
Bout  the  figures,  which  were  generally  about  an  inch  and  a  half 
high,  dressed  in  gay  colors,  and  full  of  character.  Their  compo- 
sitions were  small,  the  skies  bright,  and  the  colors,  which  were  doubt- 
less brilliant  at  first,  are  now  dark  and  brown,  especially  in  the 
landscapes.  Bout  also  painted  alone,  and  chose  fairs,  Flemish  wakes, 
merry-makings  on  the  ice,  etc.,  for  his  subjects.  In  the  Dresden 
Gall,  there  are  six  pictures  by  these  artists,  and  at  Vienna,  two. 

Boy  dell,  John,  called  Alderman  Boydell,  born  at  Darrington 
(1719-1804).  An  engraver,  and  pupil  of  Toms.  He  deserves 
especial  praise  for  what  he  did  for  art.  He  not  only  so  raised  the 
works  of  British  engravers  that  they  were  sought  by  all  Europe,  but 
he  undertook  the  illustration  of  Shakespeare,  by  plates  from  pictures 
painted  by  English  artists.  In  his  efforts  he  spent  £350,000,  and 
in  1789  his  Shakespeare  Gall,  was  opened  to  the  public.  There 
were  170  pictures,  all  by  English  painters.  In  1805  it  was  necessary 
to  dispose  of  these,  on  account  of  the  pecuniary  embarrassment 
which  had  resulted  from  his  endeavors  to  relieve  the  artists  of  his 
own  country,  from  the  rivalry  of  others.  They  were  sold  by  lottery. 
By  the  plates  which  he  published,  he  also  gave  much  employment  to 
engravers.  Boydell  was,  hi  addition  to  all  this,  a  designer  and  painter 


BOYDELL  —  BRAMANTE.  131 

in  water-colors,  and  made  a  good  sketch  of  the  interior  of  his  Gall., 
which  is  now  known  as  the  British  Institution.  In  1774  he  was 
elected  alderman,  and  in  1791  held  the  high  office  of  lord  mayor. 
In  1789  at  the  dinner  of  the  Royal  Acad.,  Sir  Joshua  Reynolds  pro- 
posed his  health  as  "  The  commercial  Maecenas  of  England."  The 
company,  including  the  Prince  of  Wales,  joined  heartily  in  the 
toast. 

Braccioli,  Gio.  Francesco,  born  at  Ferrara  (1698-1762).  His 
works  were  done  for  the  churches  and  convents  of  his  native  city. 

Brakenburg,  Regnier,  born  at  Haerlem  (1650-1702).  Pupil  of 
Hendrik  Mommers.  He  represented  scenes  from  low  life,  usually  in 
the  open  air.  He  resembles  Adrian  van  Ostade  in  color.  His 
greatest  fault  is  his  incorrect  drawing  of  the  figure.  He  had  great 
facility  in  execution,  and  understood  chiaro-scuro;  his  pictures 
appear  to  be  highly  finished.  At  Windsor  Castle  there  are  two 
pictures  of  the  Studios  of  Artists,  by  Brakeuburg.  His  works  are 
in  the  galleries  of  Berlin  and  Vienna. 

Bramante  d'Urbino.  The  real  name  of  this  great  architect  was 
Donato  Lomazzo.  The  place  and  time  of  his  birth  are  disputed,  but 
his  family  were  of  Castel  Durante  in  the  Duchy  of  Urbino,  and  he 
died  in  1514,  about  seventy  years  old.  He  first  studied  painting, 
and  executed  portraits  and  other  subject's  in  a  style  resembling  that 
of  Andrea  Mantegna.  A  few  of  his  frescoes  remain  in  Milan  and 
Pavia.  But  it  is  as  an  architect  that  he  was  important.  He  was 
MBpk>yed  on  the  following  works  in  Rome.:  the  cloister  of  the  monks 
dclla  Face:  the  fountain  of  Trastevere;  a  large  portion  of  the. 
Palazzo  della  Caneellaria;  the  arrangement  of  the  space  between 
the  Vatican  and  the  Belvedere:  and  the  Basilica  of  S.  Peter.  He 
was  appointed  pontifical  architect  by  Alexander  VI.  and  Julius  II. 
After  his  death  the  plan  of  S.  1'eter's  was  changed  and  the  only 
remnants  of  his  workmanship  are  the  four  great  arches,  supporting 
the  tower  of  the  dome.  At  first  his  style  was  mid  and  still',  but  it 
became  majestic  and  elegant.  He  had  great  fertility  of  invention 
and  undoubted  genius.  The  work  on  S.  Peter's  advanced  with 
wonderful  rapidity  under  his  Superintendence.  He  had  little  regard 
for  the  works  of  antiquity,  and  his  destruction  of  some  such  at  Rome 
w;is  notorious.  He  was  a  bitter  opponent  of  Michael  Angelo,  both 
for  himself  and  on  account  of  Raphael,  who  was  his  nephew,  and  for 
whom  he  was  jealous  of  Buonarotti  as  a  painter,  as  hi-  was  for  him- 
self as  an  architect.  The  dislike  of  Michael  Angelo  for  Bramante 
was  also  most  cordial,  and  at  one  time  they  had  a  violent  scene  in 
the  presence  of  the  Pope.  Julius  appreciated  them  all,  and  retained 
all  in  his  service.  In  a  letter  written  long  after  Bramante's  death, 
Michael  Angelo  used  the  following  words,  which  are  valuable  .when 
we  know  the  feeling  which  existed  between  them:  "  Bramante  was,  if 
any  one  deserves  the  name,  one  of  the  most  able  architects  since  the 


132  BRAMANTE  —  BRAUWER. 

days  of  the  ancients.  And,  as  it  is  evident  now,  whatever  the  stand- 
ard of  beauty,  whoever  departs  from  his  idea,  as  San  Gallo  did,  de- 
parts from  the  very  rules  of  art."  Bramante  was  interred  in  S. 
Peter's  with  great  honors.  In  1756  his  writings  in  prose  and  verse 
were  discovered,  and  published  in  the  coll.  of  Opusculi,  at  Milan. 

Bramantino.     See  Suardi. 

Brambilla,  Gio.  Batista.  A  Piedmontese  painter  who  flourished 
about  1770.  He  acquired  a  good  reputation.  Some  of  his  best 
works  are  in  the  churches  of  Turin. 

Bramer,  Leonhard,  born  at  Delft,  it  is  said,  in  1596.  Kugler 
says  he  has  reason  to  believe  that  he  was  born  much  later.  His 
works  are  poor  imitations  of  those  of  Rembrandt,  although,  as  they 
are  very  unequal  in  their  excellence,  some  are  well  esteemed.  Nos. 
1067,  1068,  and  1069,  Dresden  Gall.,  are  by  Bramer.  Bryan  praises 
this  artist,  and  says  that  his  works  were  much  esteemed  at  Florence 
and  Venice. 

Brauwer  or  Brower,  Adrian,  born  at  Haerlem,  1608;  died  at 
Antwerp,  1640.  Pupil  of  Frank  Hals,  of  whom  we  are  reminded  in 
his  laughing  or  grinning  pictures,  such  as  those  of  "  Avaritia  "  and 
"  Invidia."  Most  of  his  pictures  were  small  interiors,  although  he 
painted  some  landscapes.  It  is  said  that  Rubens  praised  Brower, 
and  his  works  are  excellent  enough  to  warrant  the  fact.  He  espe- 
cially excelled  in  painting  hideous  faces.  Like  Hals  he  was  dissi- 
pated, and  in  consequence  died  young.  His  pictures  are  scarce  and 
valuable.  The  Munich  Gall,  has  nine,  six  of  which  are  among  his 
best.  No.  1147,  Dresden  Gall.,  is  by  him.  He  also  left  a  few  etch- 
ings, full  of  spirit  and  character.  There  are  various  anecdotes  con- 
nected with  this  artist.  He  was  the  son  of  a  woman  who  sold 
bonnets  and  handkerchiefs  to  the  peasants,  and  it  was  the  designs 
he  drew  for  these,  which  brought  him  to  the  notice  of  Hals,  who 
offered  to  employ  him.  When  the  master  knew  the  full  power  of 
the  pupil,  he  locked  him  up  by  himself,  made  him  work  hard,  and 
sold  his  paintings  for  good  prices.  Adrian  van  Ostade,  another 
pupil  of  Hals,  advised  Brower  to  run  away.  He  did  so,  but  the 
large  price  he  received  in  Amsterdam  for  his  first  picture  was  a  mis- 
fortune, for  he  immediately  plunged  into  dissipation  and  only  worked 
when  necessity  required  it.  When  the  States-General  were  at  war 
with  Spain  he  attempted  to  go  to  Antwerp  without  a  passport.  He 
was  seized  and  imprisoned  in  the  citadel  where  the  Duke  of  Arem- 
berg  was  a  captive.  Through  his  interference  Brower  was  furnished 
with  colors,  etc.,  and  made  a  picture  which  was  shown  to  Rubens. 
He  recognized  it  as  the  work  of  Brower,  whose  fame  had  preceded 
him,  and  succeeded  in  getting  him  liberated.  Rubens  took  him  to 
his  own  house,  but  its  order  did  not  please  Brower.  He  went  away, 
fell  into  his  disorderly  habits,  and  died  in  a  hospital  and  was  ob- 
scurely buried.  Rubens  had  him  removed  to  the  ch.  of  the  Carmelites, 
and  interred  with  respect  and  solemnity. 


BREA  —  BREENBERG.  133 

Brea,  Ludovico,  born  at  Nice.  Flourished  from  1485  to  1513. 
Is  considered  one  of  the  founders  of  the  Genoese  school.  Some  of 
his  works  remain  in  the  churches  of  Genoa,  and  are  remarkable  for 
their  freshness.  He  painted  small  pictures  principally. 

Brebiette,  Peter,  born  at  Mante,  1596.  A  painter  and  engraver, 
but  best  known  as  the  latter.  He  engraved,  in  a  spirited  and 
masterly  manner,  some  plates  from  his  own  designs,  and  some  after 
Italian  masters. 

Breda,  John  Van,  born  at  Antwerp  (1683-1750).  Son  of  Alex- 
ander Van  Breda,  also  an  artist,  and  student  of  the  works  of  Philip 
Wouverinans,  which  he  copied  industriously.  His  pictures  became 
the  fashion ;  but  he  never  apppoached  the  excellence  of  the  master 
he  imitated.  Pie  visited  England  with  Rysbrack,  the  sculptor. 
When  Louis  XV.  visited  Antwerp  in  1746,  he  bought  four  of  Breda's 
pictures,  and  his  courtiers  engaged  all  he  could  finish,  at  good 
prices. 

Bredael,  Jan  Peters,  born  at  Antwerp,  1630.  Painted  landscapes 
with  figures  in  the  manner  of  Jan  Breughel.  He  introduced  Italian 
architecture  in  his  backgrounds.  His  color  is  heavy  and  dark,  but 
his  composition  and  execution  are  good. 

Bredael,  Jan  Frans  Van,  born  at  Antwerp  (1683-1750).  An 
inferior  imitator  of  Wouvermans.  Nos.  1707  and  1681,  Dresden 
Gall.,  are  by  Bredael. 

Bree,  Matthew  Ignatius  Van,  born  at  Antwerp  (1773-1839). 
Pupil  of  W.  Schalken.  He  painted  large  historical  subjects,  and 
acquired  a  high  reputation  in  Flanders.  He  was  first  professor  at 
the  Acad.  of  Fine  Arts  in  Antwerp,  and  was  teacher  of  some  of  the 
most  eminent  Flemish  pa  inters  of  his  time. 

Bree,  Philippe  Jacques  Van,  born  at  Antwerp  (1786-1840). 
Brother  and  pupil  of  Matthew,  he  also  studied  at  Paris  and  Rome. 
The  government  of  Belgium  purchased  his  view  of  the  interior  of 
S.  Peter's  at  Rome,  and  in  addition  to  the  price  gave  him  a  gold 
medal. 

Breenberg,  Bartholomaeus,  born  at  Utrecht 
(1620-1663?).  Lived  for  some  years  in  Italy. 
His  pictures  are  mostly  small,  and  he  was  fond 
of  painting  on  copper.  Some  of  his  works  will 
bear  to  be  examined  with  the  glass,  and  the  figures  are  finished  with 
delicate  dots  or  touches.  He  succeeded  in  his  historical  subjects. 
That  of  "  Joseph  selling  Bread  during  the  Famine  in  Egypt,"  No. 
1326,  Dresden  Gall.,  is  a  specimen,  and  the  same  subject  is  repeated 
life-size  in  the  Emmaus  ch.  at  Prague.  He  often  enlivened  his  land- 
scapes with  groups  of  figures  illustrative  of  Scripture,  mythology,  or 
Boccaccio.  The  greatness  of  this  artist  was  lessened  by  the  cold- 
ness of  his  tones;  his  drawing,  perspective,  and  execution  were  good. 
His  works  are  in  the  National  Gall.,  No.  208;  Louvre,  Nos.  50-55; 


134  BREENBERG  —  BREYDEL. 

Munich  Gall.  Cabinets,  No.  508,  and  in  the  Vienna  Gall.  His 
etchings  were  even  better  than  his  paintings,  and  he  left  thirty-one, 
most  of  which  represent  Roman  ruins  in  landscapes.  These  plates 
are  much  esteemed,  and  good  impressions  of  them  are  scarce. 

Brekelenkamp  or  Breckeleiicamp,  Quirin  Van.  Flourished 
about  1650.  A  good  painter  of  home  scenes.  His  best  works  are 
finished  with  great  delicacy.  He  was  a  pupil  of  Gerard  Douw,  but 
his  style  is  a  mixture  of  Rembrandt's  with  that  of  his  master.  His 
works  are  much  esteemed  in  Holland,  where  they  are  found  in  the 
best  collections. 

Bresang,  Hans.  A  German  engraver  who  flourished  about  1504- 
1519.  A  contemporary  of  Hans  Baldung,  and  believed  by  Zaui  to 
be  the  same  artist.  His  works  are  mostly  wood-cuts ;  he  left  but  few 
copper-plates.  The  following  are  attributed  to  Bresang :  — 

Christ  bound  to  the  Pillar,  with  the  cipher,  1504. 

The  Dead  Christ,  with  the  Maries. 

The  Dead  Christ,  stretched  on  a  linen,  supported  by  Angels. 

Christ  and  the  Apostles,  1519. 

The  Three  Fates;  1513;  very  scarce. 

Breughel,  Pieter,  the  Elder,  called  Peasant  Breughel,  born  at 
Breughel,  1520  (?).  Visited  Rome,  1553;  and  died  at  Antwerp, 
1569  (?).  He  represented  scenes  from  peasant  life,  and  was  the  first 
to  apply  himself  especially  to  those  subjects.  His  mode  was  coarse, 
and  sometimes  vulgar.  He  also  painted  Scriptural  scenes,  and  some- 
times incantations  and  ghosts,  like  Jerome  Bosch.  He  made  skilful 
sketches  when  travelling.  He  also  etched,  and  there  are  some 
wood-cuts  from  his  designs.  The  Gall,  at  Vienna  has  a  fine  Coll. 
of  his  pictures. 

Breughel,  Pieter,  the  Younger,  called  Hell  Breughel,  from  the 
nature  of  his  subjects.  Very  inferior  to  his  father.  Antwerp  Mus., 
No.  255.  Berlin  Mus.,  No.  721. 

Breughel,  Jan,  called  Velvet  Breughel,  born  at  Antwerp  (1568- 
1625).  The  most  gifted  of  his  family.  He  had  versatility  of  talent, 
and  painted  landscapes,  peasants,  Scriptural  scenes,  and  hellish  or 
demoniacal  subjects.  His  coloring  was  clear  and  strong,  his  finish 
good,  and  his  effects  of  light  well  arranged.  There  are  numbers  of 
his  works  in  the  galleries  of  Dresden,  Munich,  and  Berlin.  We 
have  four  small  etchings  of  his,  marked,  J.  Sadeler,  exc. 

Breukelaar,  Henri,  Junior,  born  at  Amsterdam  (1809-1839). 
His  works  are  few,  but  were  of  great  excellence  for  his  age.  His 
picture  of  ' '  Van  Spyck  at  the  Tomb  of  De  Ruiter  "  is  much  admired 
by  his  countrymen. 

Breydel,  Karel,  born  at  Antwerp  1677  (?)  ;  died  at  Ghent, 
1744  (?).  Pupil  of  Peter  Rysbrack.  Painted  views  on  the  Rhine, 
and  military  subjects.  One  of  his  pictures  is  in  the  Gall,  of  the 
Duke  of  Aremberg  at  Brussels. 


BRIDELL  —  BRONKIIORST.  135 

Bridell,  Frederick  Lee,  born  at  Southampton  (1831-1863).  A 
painter  of  landscapes  of  great  excellence.  He  painted  much  in  the 
style  of  Turner's  second  period.  He  failed  most  in  his  skies.  Four 
of  his  pictures  were  sold  at  Christie's  at  prices  ranging  from  200  to 
670  guineas. 

Briggs,  Henry  Ferronet,  R.  A.,  born  at  Norfolk,  1792;  died  at 
London,  1844.  He  painted  historical  subjects,  but  at  length  devoted 
himself  to  portrait  painting,  in  which  he  had  great  success.  His 
chief  excellence  was  in  color. 

Bril,  Matthew,  born  at  Antwerp,  1554;  died  at  Rome,  1580.  He 
was  employed  in  the  Vatican  in  the  time  of  Gregory  XIII.,  and  had 
a  pension.  His  early  death  prevented  the  perfection  of  his  talents. 

Bril,  Paul,  born  at  Antwerp,  1556  ;  died  at  Rome,  1626.  Brother 
of  Matthew,  whom  he  joined  in  Rome,  and  with  whom  he  studied. 
A  new  era  in  his  branch  of  art  may  be  dated  from  the  time  of  this 
artist,  and  he  influenced  beneficially  Rubens,  Annibale  Caracci,  and 
Claude  Lorraine.  He  left  many  works  in  oil  and  fresco.  After  the 
death  of  Matthew,  Paul  was  continued  in  the  Vatican  with  his 
brother's  pension.  He  was  much  patronized  by  Clement  VIII. ,  and 
painted  in  several  Roman  churches.  For  Sixtus  V. ,  too,  he  had  done 
many  works,  in  the  Sistine  Chapel,  in  the  Scala  Santa,  and  S.  Maria 
Maggiore.  His  "Building  of  the  Tower  of  Babel,"  Berlin  Mus., 
No.  731,  displays  his  power  to  represent  the  fantastic.  No.  744, 
same  Mus.,  is  a  fine  landscape  of  his  later  style.  The  Louvre  has 
some  of  his  best  works,  especially  Nos.  67,  71,  and  73. 

Briiickmaii,  Philip  Jerome,  born  at  Spires,  1709.  Pupil  of  J. 
G.  Datluin.  Painter  lo  the  court,  and  keeper  of  the  Gall,  at  Mentz. 
He  painted  landscapes,  history,  and  portraits  ;  in  some  of  the  latter 
he  imitated  Rembrandt.  He  also  left  some  plates  etched  in  a  pleas- 
ing style,  with  spirit. 

Briosco.     See  Riccio. 

Broederlain,  Melchior.  An  old  Flemish  painter  who  flourished 
about  1400.  There  are  some  very  curious  works  of  his  in  the  Mns. 
of  Dijon.  The  pictures  were  on  the  wings  of  an  altar-chest,  and 
painted  at  the  command  of  Philip  the  Bold.  This  work  combined 
painting,  sculpture,  and  architecture.  The  carving  was  done  by 
Jacques  de  la  Baerse.  A  description  of  it  would  require  too  much 
space,  but  it  is  very  interesting  in  its  relation  to  the  art  of  its  time, 
of  which  we  have  comparatively  few  such  examples. 

Brompton,  Richard,  died  1790.  Pupil  of  Raphael  Mengs  and 
Benjamin  Wilson.  The  Earl  of  Northampton  was  his  patron,  and 
took  him  to  Venice  when  ambassador  to  that  republic.  After  his 
return  to  England,  Brompton  did  not  receive  the  encouragement 
which  he  desired,  and  went  to  St.  Petersburgh,  where  he  was  well 
received  and  fully  employed  as  long  as  he  lived. 

Bronkhorst,  John  Van,  born  at  Utrecht  (1603-1680?).     He  was 


136  BRONKHORST  —  BRUN. 

first  a  painter  on  glass,  and  studied  under  John  Verburg.  He  exe- 
cuted the  fine  windows  in  the  new  ch.  at  Amsterdam.  When  thirty- 
six  years  old  he  became  acquainted  with  Cornelius  Poelemberg,  and 
abandoned  glass  painting.  He  did  some  pictures  in  imitation  of 
Poelemberg,  which  were  much  admired,  and  also  etched  landscapes 
from  his  own  designs  and  those  of  Poelemberg. 

Bronkhorst,  Peter  Van,  born  at  Delft  (1588-1661).  Excelled  in 
painting  interiors,  into  which  he  was  accustomed  to  introduce  groups 
of  small  figures  illustrating  historical  subjects.  In  the  town-house 
at  Delft  there  are  two  of  these  works,  large,  and  representing  the 
"  Judgment  of  Solomon,"  and  "  Christ  driving  the  Money-changers 
from  the  Temple." 

Bronzino,  Angiolo,  born  at  Monticelli,  1502;  died  at  Florence, 
1572.  Pupil  of  Pontormo,  friend  of  Vasari,  and  the  devoted  ad- 
mirer of  Michael  Angelo.  His  works  were  very  unequal,  and  some- 
times almost  disgusting  from  their  bad  taste,  but  he  had  remarkable 
ability  hi  drawing  and  painting.  He  was  employed  in  many  impor- 
tant works,  and  after  the  death  of  Pontormo,  finished  the  Chapel  of 
S.  Lorenzo  at  Florence.  His  frescoes  which  remain  are  much  in- 
jured, but  he  was  most  important  as  a  portrait  painter,  and  painted 
many  illustrious  persons  of  his  time.  His  portraits  have  green  back- 
grounds, and  in  style  might  be  called  Italian  Holbeins.  He  was 
fond  of  rich  garments,  furs,  etc.,  but  managed  them  so  as  not  to 
interfere  with  the  dignity  of  the  portrait.  He  was  much  in  the 
habit  of  throwing  a  strong  light  and  a  golden  tone  on  the  face,  while 
he  kept  the  rest  dark.  In  the  Berlin  Mus.  is  his  portrait  of  Bianca 
Capella,  and  others.  In  the  National  Gall,  are  "  Sensual  Love," 
and  a  "Knight  of  S.  Stephen."  His  most  celebrated  oil  picture  is 
the  "  Limbo,"  in  the  Uifizi.  The  larger  part  of  his  works  are  in 
Florence  and  Pisa,  although  there  are  a  few  of  his  pictures  in  most 
large  collections  in  Europe. 

Brown,  Mather,  died  1810.  A  portrait  painter  who  was  well 
patronized  by  English  families  of  distinction.  His  works  are  not 
above  mediocrity.  He  sometimes  painted  historical  subjects;  one 
of  these,  the  "  Marriage  of  Henry  VII.,"  was  sold  in  1828  for 
£21. 

Browne,  John,  born  at  Oxford,  1719.  An  eminent  engraver 
of  landscapes.  He  copied  the  works  of  great  masters,  and  his  plates 
were  executed  in  a  masterly  manner. 

Bruges,  John  of.  An  old  painter  of  1371.  He  was  patronized 
by  Charles  V.  of  France,  for  whom  he  decorated  a  translation  of 
the  Vulgate,  now  in  the  Westrenen  Mus.  at  the  Hague.  He  is 
designated  as  "  Pic  tor,"  which  would  indicate  that  he  executed 
larger  works,  as  "  Illuminator  "  was  the  title  used  for  the  miniature 
painters. 

Brun,  Charles  Le,  born  at  Paris  (1619-1690).     Son  of  a  sculptor 


BRUN  —  BRUNELLESCHI.  137 

who  was  employed  by  Chancellor  Seguier,  he  attracted  the  attention 
of  that  nobleman,  who  placed  him  under  the  instruction  of  Simon 
Vouet.  When  only  fifteen  he  painted  his  picture  of  "  Hercules 
destroying  the  Horses  of  Diomedes."  When  he  was  twenty-two  his 
patron  sent  him  to  Italy  and  recommended  him  to  Nicolas  Poussin. 
He  spent  six  years  in  Italy  and  returned  to  Paris  with  but  one  com- 
petitor to  fear,  Le  Sueur.  Le  Brun,  from  the  favor  of  the  chancellor, 
became  the  favorite  of  the  court,  and  was  employed  in  large  and 
important  public  works.  He  was  made  painter  to  the  king  and 
received  the  Order  of  S.  Michael.  He  used  his  opportunities  for  a 
good  purpose;  no  less  a  one  than  that  of  persuading  his  patrons 
and  the  king  to  the  founding  of  the  Royal  Acad.  at  Paris  in  1648. 
His  pictures  of  the  battles,  etc.,  of  Alexander  rendered  him  very 
famous  in  his  own  country.  He  was  especially  successful  in  his 
pictures  of  the  Holy  Family.  He  could  paint  a  round  arm,  a  bit 
of  delicate  lace,  or  express  a  dimple  wonderfully  well.  He  succeeded 
as  a  portrait  painter.  In  the  Louvre  there  are  twenty-six  pic- 
tures by  Le  Brun,  including  the  battles  of  Alexander.  In  Notre 
Dame,  his  "  Stoning  of  S.  Stephen,"  and  "Martyrdom  of  S.  An- 
drew." 

Brunelleschi,  Filippo,  born  at  Florence  (1377-1446).  A  great 
architect.  He  may  be  called  the  father  of  the  Renaissance.  His 
father,  Filippo  Lapi,  intended  him  for  a  lawyer  or  physician,  but  his 
love  for  mechanical  pursuits  was  so  great  that  he  was  placed  with  a 
goldsmith.  He  gradually  came  to  be  an  architect,  and  was  the  first 
Florentine  who  applied  geometrical  rules  to  that  branch  of  art, 
according  to  the  usage  of  the  ancient  Greeks.  Masaccio  and  Bene- 
detto da  Majano  profited  by  his  example  in  the  application  of  the 
rules  of  perspective  to  their  pictures  and  mosaics.  It  is  said  that 
Brunelleschi  spent  much  time  in  Rome  studying  the  remains  of 
ancient  architecture  and  making  drawings  from  them.  In  1420 
the  Signoria  of  Florence  called  together  the  architects  of  all  coun- 
tries,  to  consider  the  completion  of  the  dome  of  the  Cathedral.  Bru- 
nelleschi presented  himself,  armed  with  well-digested  plans,  and, 
although  sneered  at,  and  opposed,  the  work  was  at  length  committed 
to  him.  He  completed  it,  and,  in  spite  of  great  trials  and  hindrances 
of  every  possible  kind,  he  produced  one  of  the  greatest  and  boldest 
masterpieces  of  the  world  in  any  age.  The  ch.  of  S.  Lorenzo  (1425) 
is  a  specimen  of  his  designs,  where  he  commenced  from  the  begin- 
ning; and  the  Capella  Pazzi,  in  the  courts  of  Santa  Croce,  is  a  proof  of 
his  ability  to  design  the  graceful  and  elegant.  The  Badia  of  Fiesole, 
and  the  Hospital  of  the  Innocenti,  are  also  fine.  In  secular  archi- 
tecture he  excelled,  as  may  be  seen  in  the  Palazzo  Pitti,  which  has 
not  been  surpassed,  but  has  served  as  a  model  to  the  present  day. 
Grimm  says :  u  As  an  architect,  he  was  not  exactly  the  originator  of 
the  new  style  which  supplanted  the  Gothic;  but  he  was  certainly  the 


138  BRUNELLESCHI  —  BRUYN. 

master  who,  by  his  great  power,  stamped  its  superiority  as  a  fact." 
Brunelleschi  was  also  a  sculptor  and  a  worker  in  bronze.  It  is  said 
that  at  one  time  Donatello  had  made  a  crucifix  for  the  ch.  of  Santa 
Crocc  with  great  care,  and  yet,  when  he  showed  it  to  Brunelleschi, 
the  latter  did  not  express  his  admiration.  Donatello  begged  him  to 
tell  him  his  real  thought  of  it.  Brunelleschi  replied  that  the  figure  on 
the  cross  was  like  a  day-laborer,  whereas  Christ  was  of  the  greatest 
possible  beauty.  Donatello  answered :  "  It  is  easier  to  criticise  than 
to  execute;  do  you  take  a  piece  of  wood  and  make  a  better  crucifix." 
Brunelleschi  proceeded  to  the  work,  and  when  it  was  done  invited 
Donatello  to  dine  with  him.  He  had  placed  the  crucifix  in  a  con- 
spicuous place  in  his  house,  and  after  buying  various  eatables  he 
gave  them  to  Donatello,  and  asked  him  to  go  on  to  his  house,  where 
he  would  soon  join  him.  When  Donatello  entered  he  saw  the 
carving,  and  was  so  overcome  with  admiration  that  he  allowed  the 
parcels  of  eggs,  cheese,  etc.,  to  fall  on  the  floor.  When  Brunelleschi 
came  and  found  him  still  standing  before  it  he  said :  "  You  have 
spoiled  everything;  on  what  are  we  now  to  dine  ?  "  "I,"  answered 
Donatello,  "have  had  quite  dinner  enough  for  this  day.  You,  per- 
haps, may  dine  with  better  appetite.  To  you,  I  confess,  belongs 
the  power  of  carving  the  figure  of  Christ;  to  me,  that  of  representing 
day-laborers."  This  crucifix  is  now  on  the  altar  in  the  Chapel  of 
the  Gondi. 

Brussel,  Paul  Theodore  Van,  born  at  Zuid,  Polsbrock  ;  died 
early  in  the  present  century.  One  of  the  best  fruit  and  flower 
painters  of  his  time.  He  studied  under  Jean  Augustine  and  H. 
Meyer,  and  was  first  employed  in  a  tapestry  manufactory.  His 
latest  works  ape  much  the  best,  and  are  found  in  the  finest  collec- 
tions. 

Bruyn  or  Bruin,  Abraham,  born 
at  Antwerp,  1540.  An  engraver, 
/  A  ^  \J}  and  one  of  the  little  masters.  His 
portraits  and  small  friezes  of  hunting  and  hawking  are  his  best  works, 
and  are  esteemed  for  their  neatness.  He  worked  with  the  graver 
only. 

Bruyn  or  Bruin,  Nicholas,  born  at  Ant- 
A  C*  O\       werp,  1570.     Son  of  the  preceding,  under 
Y\X>  \JS  t     whom  he   studied.     He   is  an   imitator   of 
Lucas  von  Leyden.     His  plates  possess  con- 
siderable merit  for  the  times  in  which  he  worked. 

Bruyn,  Bartholomew  de,  flourished  at  Cologne  from  1520  to 
1560.  He  executed  the  wings  of  the  large  shrine  on  the  high-altar 
of  the  ch.  at  Xanten  in  1534.  His  portraits,  No.  588,  Berlin  Mus., 
and  one  in  the  Cologne  Mus.,  painted  1535,  so  much  resemble  those 
of  Holbein  as  to  be  generally  attributed  to  him.  Nos.  112,  113,  and 
114,  Munich  Gall.,  representing  the  "  Descent  from  the  Cross," 


BRUYN  —  BUGIARDINI.  139 

with  wings,  is  a  good  work.  Berlin  Mus.,  No.  639,  is  a  work  of  his 
later  time,  in  which  he  deteriorated;  it  is  a  "  Madonna  and  Child," 
adored  by  the  Duke  of  Cleves.  He  attempted  in  his  last  works 
to  adopt  an  Italian  style,  greatly  to  his  disadvantage.  Some  of  these 
pictures  are  in  the  Cologne  and  Munich  galleries,  and  are  often 
attributed  to  Martin  Van  Hemskerk. 

Bry  or  Brie,  Theodore  de,  born  at  Liege,  1528  ;  died  at  Frank- 
fort, 1598.  An  eminent  engraver.  He  imitated  Sebald  Beham. 
He  worked  almost  entirely  with  the  graver.  His  style  was  neat  and 
free,  and  especially  suited  to  subjects  in  which  there  are  many 
figures,  such  as  he  frequently  chose.  He  gave  great  spirit  and  ex- 
pression to  his  heads.  He  engraved  the  plates  for  the  first  four 
volumes  of  Boissard's  "Roman  Antiquities;"  the  two  others  were 
finished  by  his  sons,  John  Theodore  and  John  Israel.  In  Frankfort 
Bry  was  a  print  and  book  seller. 

Bucklaer,  Joachim,  flourished  1550-1570.  Pupil  of  Pieter  Aerts- 
zen,  whom  he  imitated  closely.  His  kitchen  and  market  scenes  were 
very  popular.  "  Christ  before  Pilate,"  No.  78,  Munich  Gall.,  is  by 
Bucklaer. 

Buffalmacco,  real  name  Buonamico  Christofani.  Vasari  says  lu> 
was  born  in  1262  and  died  in  1340;  that  he  was  a  pupil  of  Andrea 
Tafi  :  and  Ghiberti  bears  out  his  statement  that  he  was  an  excellent 
painter  and  able  to  outdo  all  others  when  he  set  his  mind  to  it. 
Vasari' s  account  of  him  is  very  interesting.  He  seems  to  have  been 
the  wit  and  practical  joker  among  the  artists  of  his  day.  His  fame 
has  outlasted  his  works,  for  it  is  a  matter  of  great  doubt  if  any  of 
these  remain.  Kugler  says  his  existence  is  doubtful,  and  his  life  by 
A":is;iri  a  mere  tissue  of  whimsical  stories.  Lord  Lindsay,  in  his 
*  Sketches  of  the  History  of  Christian  Art,"  says:  u  A  merry  wag, 
a  careless  spendthrift,  living  for  the  day  without  a  thought  of  the 
morrow,  and  (as  the  phrase  is)  '  nobody's  enemy  but  his  own,'  he 
drained  the  cup  of  pleasure  to  the  lees  and  found  misery  at  the  bot- 
tom, dying,  at  the  age  of  seventy-eight,  a  beggar,  in  the  Misericordia, 
without  a  paul  in  his  pocket  to  buy  a  coffin  for  his  corpse  or  a 
mass  for  his  soul,  the  type  and  mirror  of  a  whole  class  of  artists, 
whose  follies  and  vagaries  throw  discredit  on  genius,  while  a  certain 
kindliness  of  heart  renders  it  impossible  not  to  pity  while  we  blame 
them." 

Bugiardini,  Giuliano,  born  near  Florence  (1471-1554).  Pupil 
of  Mariotto  Albertinelli.  Michael  Angelo  formed  a  friendship  for 
him  in  the  gardens  of  S.  Marco,  and  he  is  one  of  those  whom  (he 
great  master  attempted  to  employ  as  assistants  in  the  Sistine  Chapel. 
Bugiardini  worked  so  long  in  an  humble  capacity,  copying  the 
drawings  of  others  on  panels,  that  when  he  came  to  work  indepen- 
dently his  powers  of  composition  were  dwarfed,  and  he  could  only 
toaster  the  simplest  subjects.  He  sometimes  seemed  to  imitate 


1  40  BUGIARDINI  —  BUONAROTTI. 

Leonardo.  His  portraits  were  as  good  as  any  of  his  works,  and  it  is 
said  Michael  Angelo  once  sat  to  him.  The  Portrait  is  supposed 
to  be  in  the  Louvre,  No.  526.  Many  of  his  works  remain.  The  fol- 
lowing are  some  of  them:  Uffizi,  No.  220;  Leipzig  Mus.,  No.  143; 
Bologna  Pinacoteca,  No.  26;  Berlin  Mus.,  Nos.  248  and  285,  etc. 
There  are  many  of  his  panels  in  Bologna;  in  the  Colonna  Pal., 
Rome,  there  are  some,  and  a  few  in  England,  besides  many  in  Italy 
not  mentioned. 

Buister,  Philip,  born  at  Brussels  (1595-1688).  After  studying 
in  his  native  city  he  went  to  Paris,  where  he  was  somewhat  distin- 
guished. He  executed  several  sculptures  for  the  park  at  Versailles, 
and  the  tomb  of  Cardinal  De  Rochefoucauld.  This  last  was  his 
principal  work,  and  has  been  placed  in  the  Musee  des  Monuments 


Bullinger,  John  Balthasar,  born  at  Zurich  (1713-1793).  Pupil 
of  John  Simler,  and  later  at  Venice  he  studied  with  Tiepolo.  He 
became  an  eminent  landscape  painter.  He  spent  some  time  in  Am- 
sterdam, and  studied  the  best  works  there.  He  also  executed  several 
plates  of  considerable  merit. 

Bunel,  Jacques,  born  at  Blois,  1558.  Studied  under  Federigo 
Zucchero  at  Rome.  One  of  the  best  French  painters  of  his  time. 
Some  of  his  best  works  were  for  the  churches  of  Paris. 

Buonacorsi.     See  Vaga. 

Buonamici.     See  Tassi. 

Buonarotti,  Michael  Angelo,  born  in  the  castle  of  Caprese, 
March  6,  1475.  His  father  was  Ludovico  Buonarotti,  and  his  home 
was  in  Florence,  but  at  the  time  of  the  birth  of  this  son  he  held  the 
office  of  podesta  or  governor  of  the  towns  of  Caprese  and  Chiusi. 
His  mother,  also  of  good  family,  was  called  Francesca;  and  his 
grandmother,  so  well  known  as  Madonna  Alessandra,  was  still  living 
at  the  time  of  his  birth.  When  Ludovico  Buonarotti  returned  to 
Florence,  the  child,  Michael  Angelo,  was  left  at  Settignano,  upon 
an  estate  belonging  to  his  family.  His  nurse  was  the  wife  of  a  stone- 
mason, and,  for  many  years,  pictures  were  shown  on  the  walls  of 
the  house  in  which  he  had  grown  up  which  he  had  drawn  as  soon  as 
he  could  use  his  hands.  At  the  proper  age  he  was  placed  in  a 
grammar-school  at  Florence,  where  he  became  acquainted  with 
Francesco  Granacci,  a  noble  youth,  five  years  older  than  himself, 
and  a  pupil  of  Ghirlandajo.  Granacci  became  his  most  intimate 
friend.  Ludovico  had  desired  this  son  to  be  a  scholar,  and,  to- 
gether with  his  uncles,  harshly  opposed  his  inclination  to  become  an 
artist.  But  Michael  Angelo  was  so  determined  that  he  carried  his 
point,  and,  in  1488,  was  engaged  to  the  Ghirlandaji  for  three  years. 
At  this  time  Domenico  Ghirlandajo,  who  was  one  of  the  best  mas- 
ters of  Florence,  was  engaged  in  the  restoration  of  the  Choir  of  S. 
Maria  Novella.  Michael  Angelo  came,  therefore,  at  the  first,  into 


BUONAROTTI.  141 

the  midst  of  great  work.  One  day  at  the  dinner  hour  Michael 
Angelo  drew  a  picture  of  the  scaffolding  and  all  that  belonged  to  it, 
with  the  painters  at  work  on  it.  When  Domenico  saw  the  paper 
he  was  so  astonished  that  he  exclaimed,  "  He  understands  more  than 
I  do  myself."  His  rapid  progress  soon  excited  the  jealousy,  not 
only  of  his  fellow-pupils,  but  of  Ghirlandajo  himself.  Michael 
Angelo' s  first  picture  was  an  enlarged  copy  of  Schongauer's  plate 
of  the  "  Temptation  of  S.  Anthony."  This  plate  is  well  known.  In 
order  to  perfect  himself  in  the  representation  of  the  fishy  parts  he 
constantly  visited  the  fish-market,  and  made  drawings  there.  He 
produced  an  excellent  work,  of  which  Ghirlandajo  claimed  the 
merit,  as  it  was  painted  in  his  atelier.  This  picture  is  said  to  still 
exist  in  the  Gall,  of  the  Bianconi  family  at  Bologna.  Others  believe 
that  it  is  in  the  possession  of  M.  de  Triqueti,  at  Paris.  The  scholar 
soon  proved  that  he  knew  more  than  his  master,  for  it  was  the  cus- 
tom for  the  pupils  to  copy  the  jdrawings  which  Ghirlandajo  had  made. 
Michael  Angelo,  one  day,  took  one  of  these  from  the  hands  of  a 
^fellow-pupil,  and  with  thick  strokes  corrected  the  lines  of  the  master, 
in  a  manner  which  could  not  be  objected  to;  after  this  he  was 
refused  the  plates  when  he  asked  for  them.  About  this  time  Michael 
Angelo  made  the  acquaintance  of  Lorenzo  dei  Medici,  then  at  the 
head  of  the  government  in  Florence,  and  admittance  was  soon 
obtained  for  himself  and  Granacci  to  the  gardens  of  S.  Marco.  In 
these  gardens  the  art-treasures  of  the  Medici  were  placed.  There 
works  of  sculpture  were  arranged,  and  cartoons  and  pictures  were 
hung,  in  buildings  erected  for  the  purpose.  Numbers  of  young 
people  were  instructed  there,  and  the  old  sculptor  Bertoldo  was  their 
master.  Michael  Angelo's  attention  was  now  diverted  from  painting, 
and,  making  friends  with  the  stone-masons,  he  obtained  a  piece  of 
marble  and  some  instruments.  He  first  copied  the  mask  of  a  Faun, 
but  did  not  adhere  closely  to  the  original,  for  he  opened  its  mouth 
so  much,  that  the  teeth  could  be  seen.  When  Lorenzo  visited  the 
garden  lie  praised  Michael  Angelo,  but  he  also  said,  "  You  have  made 
your  Faun  so  old,  and  yet  you  have  left  him  all  his  teeth  ;  you  should 
have  known  that,  at  such  an  advanced  age,  there  are  generally  some 
wanting."  The  next  time- he  came,  he  found  a  gap  in  the  teeth  of 
the  Faun,  so  well  done  that  he  was  delighted  with  the  work.  (Now 
in  the  Uffizi  Gall.)  He  sent  immediately  for  the  father  of  Michael 
Angelo.  Ludovico,  who  had  felt  it  a  sufficient  trial  that  his  son 
would  be  a  painter,  was  in  despair  at  the  thought  that  he  might 
become  a  stone-mason.  He  refused  to  see  the  Duke.  Granacci  at 
length  prevailed  upon  him  to  go  to  Lorenzo,  but  it  was  with  the 
determination  to  agree  to  nothing.  The  manner  of  Lorenzo  soon 
overcame  him,  and  he  returned  home  declaring  that  not  only  his 
son,  but  he  himself,  and  all  that  he  had,  was  at  the  service  of  the 
Duke.  Michael  Angelo  was  at  once  taken  into  the  palace ;  he  was 


142  BUONAROTTI. 

properly  clothed,  and  had  an  allowance  of  five  ducats  a  month  for 
pocket-money.  It  was  the  custom  of  the  Duke  to  give  each  day  an 
entertainment.  He  himself  took  the  head  of  the  table.  Whoever 
came  first  sat  next  him,  and  it  often  happened  that  Michael  Angelo 
had  this  place.  He  was  beloved  by  all  the  household,  and  Lorenzo 
often  sent  for  him  to  show  him  stones,  coins,  and  other  valuable 
tilings,  and  to  talk  with  him  of  his  own  studies.  Poliziano  also 
advised  him,  and  gave  him  the  marble  for  his  bas-relief  of  the 
4 '  Battle  of  Hercules  with  the  Centaurs."  This  work  surprised 
every  one,  and  is  still  to  be  seen  in  the  palace  of  the  Buonarotti 
family.  Bertoldo,  for  his  part,  instructed  him  in  casting  in  bronze. 
He  executed  a  "Madonna"  in  the  style  of  Donatello,  and  made 
drawings  in  the  Brancacci  chapel  after  the  works  of  Filippo  Lippi. 
Life  in  Florence,  at  this  time,  was  almost  the  perfection  of  life. 
"  Whatever  great  things  happened  in  the  world  were  known,  dis- 
cussed, and  estimated  there.  What  was  indifferent  was  crushed 
under  the  abundance  of  what  was  excellent.  Excellence  itself  was 
not  blindly  accepted  according  to  outward  signs,  but  it  was  tested 
by  understanding  before  it  was  admired*  Stirring  social  life  mingled 
uninterruptedly  with  the  most  serious  tasks,  and,  as  a  wholesome 
contrast  to  the  sweetness  of  this  existence,  came  the  keen,  critical 
judgment  of  the  Florentine  public,  who  allowed  themselves  neither 
to  be  deceived  nor  bribed  in  matters  of  culture.  This  state  of  society 
was  only  to  be  met  with  in  Florence,  and  chained  the  Florentines 
to  their  native  city,  where  alone  they  found  the  true,  healthful  recog- 
nition of  their  own  refined  minds."  Lorenzo  was  the  head  of 
Florence,  and  Florence  the  head  of  art,  poetry,  philosophy,  and 
religious  movements.  Thus,  in  the  house  of  the  Medici,  Michael 
Angelo,  when  his  mind  was  pliant,  and  his  character  still  to  be 
formed,  received  an  education  than  which,  for  an  artist,  none  could 
have  been  better;  and,  at  that  time,  among  the  Romanic  nations, 
young  people  were  free  from  the  embarrassment  which  often  attends 
that  age,  and  were  accustomed  to  conduct  themselves  with  ease 
under  all  circumstances,  knowing  nothing  of  the  awkward,  silent 
manner  of  the  youth  of  more  northern  nations.  The  morals  of 
Florentine  society  were  as  low  as  its  cultivation  was  high,  and  in  the 
same  year  in  which  Michael  Angelo  was  admitted  to  the  palace, 
Savonarola  came  to  preach  his  crusade  against  the  crimes  of  this 
wonderful  city,  and  in  the  Lent  of  1492  Lorenzo  became  suddenly 
ill.  It  was  at  this  time  that  the  effect  of  the  preaching  of  Savonarola 
had  reached  its  height,  and  even  the  great  Duke  felt  that  he  could 
not  die  until  he  had  seen  this  mighty  preacher.  It  is  probable  that 
Michael  Angelo  was  one  of  those  who  surrounded  the  bed  of  Lorenzo 
in  his  last  hours.  He  was  astounded  by  the  death  of  his  patron. 
Hi-  U-ft  the  palace  and  arranged  an  atelier  for  himself  in  his  father's 
house.  At  this  time  he  executed  a  "  Hercules  "  which  is  now  lost. 


BUONAROTTL  1 43 

After  a  time  he  was  taken  again  by  Piero  Medici  into  the  palace, 
his  old  rooms  were  assigned  to  him,  and  he  was  received  at  his  table. 
But  Florence  was  no  longer  what  it  had  been,  and  before  long 
Michael  Angelo,  in  the  midst  of  political  troubles,  made  his  escape 
to  Venice.  There  he  met  Gianfrancesco  Aldovrandi,  the  head  of  a 
noble  house  of  Bologna,  who,  when  he  heard  that  Michael  Angelo 
was  a  sculptor,  invited  him  to  that  city.  He  remained  there  nearly 
a  year,  during  which  time  he  executed  the  figures  on  a  sarcophagus 
which  contains  the  bones  of  S.  Domenico  in  the  ch.  of  S.  Petronio. 
This  commission,  given  to  a  foreign  artist,  but  twenty  years  of  age, 
so  aroused  the  hatred  of  the  Bolognese  artists,  that  they  threatened 
vengeance  on  him.  Michael  Angelo  returned  to  Florence.  Dur- 
ing his  absence  everything  had  been  changed.  The  name  of  the 
Medici  was  only  heard  coupled  with  curses.  The  pictures  and 
statues  of  the  garden  of  S.  Marco  had  been  scattered  over  the  world. 
Many  artists  had  left,  and  those  who  remained  were  struggling  to 
decide  whether  their  exquisite  works  were  the  results  of  a  God-given 
genius  or  of  the  power  of  the  Devil.  Michael  Angelo  was  depressed 
by  all  this,  but  Florence  was  his  home.  He  prepared  to  remain 
there,  and  again  found  a  Medici,  called  Lorenzo  also,  who  became 
his  patron.  He  was  one  who,  having  been  persecuted  by  Piero,  had 
fled  to  France,  and  returned  in  the  train  of  Charles  VIII.  Condivi 
savs  that  at  this  time  Michael  Angelo  worked  upon  some  statues 
for  Lorenzo,  and  also  executed  for  himself  a  Cupid  in  marble. 
This  statue  led  him  in  an  unexpected  manner  to  Home,  for,  when  it 
Avas  finished,  Lorenzo  advised  him  to  give  it  the  appearance  of  an 
antique,  and  said  he  would  himself  send  it  to  Rome,  and  obtain  a 
large  price  for  it.  Michael  Angelo  did  this  and  received  thirty 
ducats.  The  secret  of  its  origin,  however,  was  not  kept.  The 
Cardinal  Avho  had  purchased  it  sent  a  nobleman  of  his  household 
to  Florence,  to  investigate  the  matter.  This  man  pretended  to  be 
in  need  of  a  sculptor,  and  invited  Michael  Angelo,  among  others,  to 
visit  him.  He  came,  and  when  asked  Avhat  Avork  he  had  done, 
enumerated  among  others  a  "  Sleeping  Cupid."  It  was  now  ex- 
plained to  him  that  in  place  of  the  thirty  ducats  which  he  had 
received,  the  Cardinal  had  paid  tAVO  hundred  for  the  work. 
Finding  himself  deceived,  as  Avcll  as  a  deceiver,  he  went  Avith  the 
nobleman  to  Rome.  The  latter  promised  to  receive  him  into  his 
own  house,  and  assured  him  that  he  Avoiild  find  a  large  field  for  his 
lal>or,  and  one  in  Avhich  much  money  could  be  obtained.  The  oldest 
writing  in  the  hand  of  Michael  Angelo  is  the  letter  which  he  wrote 
to  inform  Lorenzo  dei  Medici  of  his  arrival  in  Rome.  At  this  time 
he  was  twenty-one  years  old.  In  this  letter  he  speaks  of  the  beau- 
tiful things  he  has  seen,  but  what  these  were  we  can  scarcely  tell, 
for  the  Rome  of  that  day  Avas  not  the  city  which  we  know.  The 
first  important  work  which  he  executed  in  Rome  was  the  statue  of 


144  BUONAKOTTt 

the  "  Drunken  Bacchus, "  now  in  the  Uffizi  Gall.  It  was  executed 
for  Jacopo  Galli,  for  whom  he  also  made,  the  Cupid  now  in  the 
Kensington  Mus.  But  the  work  by  which  he  passed  from  the 
standing  of  a  good  artist,  to  that  of  the  most  famous  sculptor  in 
Italy,  was  "  La  Pieta."  It  is  almost  impossible  to  judge  of  this 
where  it  now  stands,  in  a  chapel  of  S.  Peter's.  It  is  placed  so  high, 
and  the  light  is  so  bad,  that  no  satisfactory  judgment  of  it  can  be 
formed.  But  Condivi  says  that  from  the  time  it  was  finished  he 
was  the  first  master  in  the  world.  This  was  done  when  he  was 
twenty-four  years  old.  In  the  same  year,  or  the  following  one,  he 
returned  to  Florence.  During  his  absence  other  great  changes  had 
taken  place.  Florence  had  joined  with  Venice,  and  matters  seemed 
to  be  prosperous.  Michael  Angelo's  first  work  after  his  return  was 
a  "  Madonna,"  now  in  the  ch.  of  Notre  Dame  at  Bruges.  It  is  life 
size,  and  one  of  his  finest  works.  Another  work  of  this  period  is  a 
painting  now  in  the  Tribune  at  Florence,  representing  the  ' '  Holy 
Family."  There  was  in  Florence,  at  this  time,  an  immense  block 
of  marble,  which  had  been  intended  for  a  statue  of  a  Prophet,  to 
be  placed  outside  the  dome  of  S.  Maria  del  Fiore.  It  had  lain 
many  years  in  the  court-yard  of  the  work-shops  of  the  Cathedral. 
It  had  been  offered  to  Donatello,  but  neither  he  nor  any  other 
sculptor  had  wished  to  undertake  to  make  anything  of  it.  Now 
Sansovino,  lately  returned  from  Portugal  to  Florence,  desired  to 
have  this  marble,  and  intended  to  join  other  pieces  to  it.  The 
consuls  would  not  consent  until  they  had  asked  Michael  Angelo  if 
he  would  not  make  something  good  out  of  the  block.  He  had  just 
undertaken  to  execute  fifteen  marble  statues  for  the  funeral  vault 
of  the  Piccolomini  family  in  Siena.  But  when  he  saw  the  magnifi- 
cent block  at  Florence  he  left  the  work  for  Siena,  and  declared  him- 
self ready  to  undertake  it  without  any  addition.  Accordingly  the 
order  was  issued  on  the  16th  of  August,  1501.  He  was  allowed  two 
years  for  his  work,  and  was  to  receive  six  gold  florins  a  month, 
while  the  additional  sum  to  be  paid  was  left  to  the  decision  of  those 
who  had  ordered  the  statue  when  it  should  be  finished.  On  Mon- 
day the  13th  of  September,  furnished  with  a  little  wax  model  which 
he  had  moulded,  now  in  the  Uffizi,  very  early  in  the  morning,  he 
commenced  his  work.  From  first  to  last  he  executed  the  entire 
work,  and  in  February,  1503,  it  was  half  completed.  In  the 
mean  time  another  important  political  movement  had  taken  place, 
which  had  thrown  another  work  in  the  hands  of  Michael  Angelo^ 
for  the  Republic  had  received  additional  favors  from  France,  on 
account  of  which  they  felt  obliged  to  comply  with  the  request  of 
the  Duke  de  Nemours,  to  have  a  bronze  copy  of  the  "  David,"  by 
Donatello,  which  stood  in  the  court  of  the  Palace  of  the  Government, 
and  in  the  summer  of  1502,  Michael  Angelo  undertook  the  work. 
One  hindrance  after  another  prevented  its  completion  for  years,  and 


BUONAEOTTL  145 

when  it  was  finished  it  was  presented  to  another  French  noble,  and 
at  the  present  day  nothing  is  known  of  it.  In  the  spring  of  1503  he 
also  contracted  with  the  consuls  of  the  wool-weavers  guild  for  twelve 
Apostles,  each  eight  and  a  half  feet  high.  It  had  been  found  by 
this  time  that  the  master  was  not  to  be  depended  on,  in  regard  to 
the  time  when  his  work  should  be  finished.  Therefore  it  was  stipu- 
lated that  one  Apostle  should  be  finished  every  year;  that  he  should 
go  himself  to  Carrara  and  choose  the  blocks,  at  the  expense  of  the 
consuls;  and  that  the  price  to  be  paid  for  the  statue  should  be 
settled  by  arbitration.  They  also  completed  an  atelier  especially 
for  him ;  and  on  the  completion  of  each  statue  he  was  to  receive  a 
twelfth  part  of  this  house;  so  that,  when  the  whole  were  done,  it 
should  fall  entirely  into  his  possession.  Although  no  contract  could 
have  been  more  promising,  nothing  was  ever  accomplished  but  the 
coarse  sketch  of  Matthias,  now  in  the  court  of  the  Acad.  in  Florence. 
With  regard  to  the  "  David,"  he  was  enthusiastic,  and  so  devoted  to 
his  work,  that  at  the  beginning  of  1504  it  was  done.  A  meeting 
was  called  of  the  first  artists  of  Florence,  to  consider  where  it 
should  be  placed.  They  met  in  the  atelier  before  the  statue,  un- 
veiled for  the  first  time.  After  much  discussion,  it  was  decided  that 
the  statue  should  stand  wherever  Michael  Angelo  himself  desired. 
He  chose  the  place  next  the  gate  of  the  palaee,  where  the  "  Judith  " 
of  Donatella  then  stood.  The  statue  weighed  18,000  pounds.  The 
scaffolding  to  remove  it  was  devised  by  Cronaca,  and  consisted  of 
a  wooden  frame-work  within  which  the  statue  was  suspended.  The 
whole  thing  was  laid  upon  oiled  beams  and  drawn  along  by  pulleys. 
On  the  14th  of  May,  at  evening,  the  wall  of  the  atelier  was  broken 
down,  and  the  statue  drawn  into  the  open  air.  It  took  three  days 
to  move  it,  and  during  the  night  a  watch  was  required,  because 
stones  were  thrown  at  it,  and  there  seemed  to  be  a  determination  to 
destroy  the  work.  Even  the  watch  was  attacked,  and  eight  persons 
were  arrested  and  thrown  into  prison.  On  the  18th  of  May  it  was 
successfully  lodged  in  its  place.  The  question  of  its  removal  lias 
sometimes  arisen  because  it  has  been  thought  that  it  should  be  pre- 
served by  having  a  roof  over  it.  But  the  Florentines  consider  it  a 
good  genius  of  their  city,  and  would  regard  its  removal  as  an  evil 
omen.  Grimm  says,  "  The  erection  of  this  David  was  like  an  occur- 
rence in  nature  from  which  people  are  accustomed  to  reckon.  We 
find  events  dated  so  many  years  after  the  erection  of  the  Giant.  It 
was  mentioned  in  records  in  which  there  was  not  a  line  besides  respect- 
ing art."  At  this  time  the  rivalry  between  Michael  Angelo  and  Leo- 
nardo da  Vinci  commenced.  Nothing  could  be  more  dissimilar  than 
these  two  men.  Michael  Angelo  was  so  temperate  that  he  truly 
said  of  himself  in  his  old  age,  "  Rich  as  I  am,  I  have  always  lived 
like  a  poor  man."  Leonardo  loved  to  surround  himself  with  lux- 
ury. Michael  Angelo  was  bitter,  ironical,  and  inclined  to  solitude. 
10 


146  BUONAROTTI. 

Although  unwilling  to  injure  the  feelings  of  others,  and  even  gentle 
in  some  aspects  of  his  character,  he  was  determined  to  be  acknowl- 
edged as  the  first  where  he  felt  it  to  be  due  to  him,  and  in  matters  of 
art  would  allow  none  to  interfere  with  his  rights.  Leonardo  loved 
admiration,  and  kept  a  retinue  of  flatterers  about  him.  He  was  not 
less  self- willed,  but  seemed  to  play  with  his  talents,  and  to  seek  for 
something  which  would  entice  him  to  exert  his  powers.  In  personal 
appearance  Leonardo  was  very  handsome.  His  fine  and  expressive 
eyes  and  magnificent  beard  gave  him  an  imposing  presence.  The 
head  of  Michael  Angelo  was  broad,  with  projecting  forehead,  while 
the  lower  part  of  his  face  seemed  too  small  for  the  upper  portion. 
His  eyes  were  small  and  light,  and  his  nose,  which  had  been  crushed 
by  Torrigiano  in  the  gardens  of  the  Medici,  seriously  disfigured  him. 
It  has  been  said  concerning  this  occurrence  that  Michael  Angelo 
provoked  him,  but  others  regarded  it  as  the  result  of  mere  envy. 
Torrigiano  fled  from  Florence,  for  Michael  Angelo  was  carried  home 
for  dead.  In  February,  1504,  Leonardo  had.  received  the  order  to 
paint  one  wall  of  the  hall  of  the  Consiglio  Grande.  In  spite  of  the 
fact  that  he  had  painted  almost  nothing,  Michael  Angelo  deter- 
mined to  compete  with  Leonardo,  and  secure  the  commission  for  the 
second  wall.  It  was  in  this  year  that  Raphael,  attracted,  it  is  said, 
by  what  he  had  heard  of  Leonardo  and  Michael  Angelo,  came  to 
Florence.  Thus  the  three  greatest  artists  of  modern  times  were 
met  together.  Rooms  were  assigned  to  Michael  Angelo  and  Leo- 
nardo in  which  to  prepare  their  cartoons,  but  in  the  midst  of  his 
work,  the  former  was  summoned  by  Julius  II.  to  Rome.  This  was 
probably  at  the  beginning  of  1505.  The  Pope's  attention  had  been 
called  to  Michael  Angelo  by  Giuliano  di  Sangallo.  But  although  he 
had  commanded  him  with  haste,  it  was  some  time  before  Julius  gave 
him  his  first  commission.  This  was  for  a  colossal  mausoleum  to  be 
built  for  himself.  Michael  Angelo  sketched  a  design.  Julius  ap- 
proved it,  and  the  Pope  commanded  him  to  select  a  place  for  its 
erection  in  the  Basilica  of  S.  Peter.  A  new  Tribune  had  been  com- 
menced, and  he  advised  that  it  should  be  finished  and  the  monument 
placed  within  it.  The  order  was  given  to  Sangallo,  and  Michael 
Angelo  sent  to  Carrara  to  secure  the  marble  for  his  great  work. 
After  many  difficulties  the  marble  was  brought  to  the  square  and 
the  whole  city  was  amazed  at  the  blocks.  The  Pope  was  delighted, 
and  had  a  passage  made  by  which  he  could  pass  from  the  palace  to 
the  atelier  of  the  sculptor  without  being  seen.  Just  at  this  time,  in 
1506,  the  "Laocoon  "  was  found  and  occupied  the  minds  of  all  Rome. 
Michael  Angelo  was  now  considered  the  first  sculptor  in  Rome,  and 
other  artists  began  to  be  jealous  of  him.  During  his  second  absence 
in  Carrara,  Bramante  influenced  the  Pope  against  him,  and  declared 
it  to  be  an  evil  omen  for  him  to  build  his  tomb  while  living.  It  had 
been  the  custom  for  Michael  Angelo  to  be  admitted,  unannounced, 


BUONAROTTI.  147 

to  the  Pope  at  any  time.  He  now  found  a  change.  His  new  marble 
had  arrived,  also  the  workmen  whom  he  had  hired  in  Florence.  The 
Pope  urged  him  no  longer,  neither  would  he  give  him  money  which 
he  greatly  needed.  The  master  determined  to  understand  matters, 
and  to  enter  the  palace.  He  was  refused  admission,  and  told  by  the 
servant  that  he  had  express  commands  that  he  should  not  come  in. 
He  went  home,  and  wrote  thus  to  the  Pope:  "  Most  Holy  Father,  I 
was  this  morning  driven  from  the  palace  by  the  order  of  your  Holi- 
ness. If  you  require  me  in  future,  you  can  seek  me  elsewhere  than 
in  Rome."  He  gave  this  letter  to  the  cup-bearer  of  the  Pope.  He 
commanded  one  of  his  workmen  to  find  a  Jew  to  sell  all  he  possessed, 
and  to  follow  him  with  the  money  to  Florence,  while  he  mounted  his 
horse,  and  rode  without  stopping  until  he  was  on  Florentine  ground. 
The  Pope  sent  quickly  for  him,  and  commanded  that  he  should  be 
brought  back  by  force.  But  he  was  a  Florentine  citizen,  and  he 
threatened  to  have  the  messengers  slaughtered  if  they  touched  him. 
They  used  every  means  to  induce  him  to  return,  but  he  replied  that 
he  would  neither  return  then,  nor  ever;  that  he  had  not  deserved  to 
be  treated  as  a  criminal;  that  he  considered  himself  released  from 
his  former  engagements  with  his  Holiness,  and  that  he  would  make 
no  others.  When  he  reached  Florence  he  returned  to  his  work  upon 
the  cartoon.  The  Pope  immediately  wrote  to  the  Signiory,  urging 
the  return  of  Michael  Angelo,  and  promising  that  he  should  be 
received  into  full  favor.  But  the  master  doubted  the  truth  of  the 
Pope,  and  waited  until  another  letter  came.  Then  the  gonfalonier 
sent  for  him  and  insisted  that  he  should  return  to  Rome,  saying, 
"  You  have  treated  the  Pope  in  a  manner  such  as  the  King  of  France 
would  not  have  done,"  and  declaring  that  they  would  not  risk  a  war, 
and  the  safety  of  the  state,  on  his  account.  Michael  Angelo,  mean- 
time, had  received  offers  from  the  Sultan  to  go  to  Constantinople, 
ami  was  inclined  to  accept.  A  third  letter  came  from  Julius,  and  at 
last  it  was  arranged  that  he  should  go  in  the  capacity  of  an  am- 
bassador, for  then  he  would  lie  protected  by  the  Florentine  Republic. 
Just  at  this  time,  however,  Julius  left  Rome  to  begin  a  war,  during 
which  Michael  Angelo  completed  his  cartoon  in  Florence.  It  was 
the  well-known  representation  of  the  "  Bathing  Soldiers,"  and  fur- 
nished studios  for  a  generation  of  ar'ists,  although  it  was  never 
painted.  There  is,  at  the  present  day,  but  a  small  copy;  and  an 
engraving,  by  Marc  Anton,  giving  a  group  of  the  figures;  and  another, 
by  Agostino  Veneziano,  representing  a  still  larger  part  of  the  whole. 
As  for  Leonardo's  painting,  it  had  perished  before  it  was  finished, 
for  he  had  used  oils,  instead  of  painting  alfresco.  He  had  disagreed 
regarding  the  price  that  should  be  paid  him,  and  had  entered  the 
service  of  the  King  of  France.  Michael  Angelo  remained  victor  in 
this  conflict.  In  November,  1506,  upon  the  taking  of  Bologna,  there 
«ame  a  letter  requesting  that  Michael  Angelo  sliould  be  sent  at  once 


148  BUONAKOTTI. 

to  the  Pope.  Arriving  at  Bologna,  he  went  first  to  the  ch.  of  S. 
Petronio,  to  hear  mass.  A  servant  of  the  Pope  recognized  him  and 
took  him  immediately  to  his  Holiness.  Julius  was  at  table,  but 
ordered  that  he  should  be  admitted.  When  he  saw  him  he  could  not 
entirely  control  his  anger,  and  said,  harshly,  "  You  have  waited  thus 
long,  it  seems,  till  we  should  ourselves  come  to  seek  you."  Michael 
Angelo  kneeled  down  and  begged  his  pardon,  but  added  that  he  had 
remained  away  from  no  evil  intention,  but  because  he  had  been 
offended.  Julius  looked  doubtful,  and  one  of  the  ecclesiastics,  fear- 
ing the  result,  interposed.  He  said  the  Pope  must  not  judge  the 
artist  too  severely,  for  that  he  was,  like  all  of  his  profession,  a  man 
of  no  education,  and  ignorant  of  everything  excepting  art.  The  Pope 
now  turned  furiously  upon  him,  exclaiming,  "  Do  you  venture  to  say 
things  to  this  man  which  I  would  not  have  said  to  him  myself? 
You  are  yourself  a  man  of  no  education,  a  miserable  fellow,  and  this 
he  is  not;  out  of  my  sight  with  your  awkwardness."  The  poor  man 
was  so  stunned  that  the  servants  were  obliged  to  carry  him  from  the 
hall,  and  the  anger  of  the  Pope  being  satisfied,  he  beckoned  gra- 
ciously to  Michael  Angelo,  and  commanded  him  not  to  leave  Bologna 
without  his  instructions.  He  soon  gave  him  an  order  for  a  colossal 
statue  in  bronze  to  be  erected  in  Bologna.  Some  of  the  letters  which 
he  wrote  at  this  time,  now  in  the  British  Mus.,  give  much  informa- 
tion regarding  his  life.  He  seems  to  be  the  centre  of  his  family,  to 
be  depended  upon  for  advice,  and  the  upholder  of  all  the  others. 
He  said  his  dwelling  was  mean,  and  had  but  a  single  bed  in  it,  in 
which  four  people  slept.  In  February,  1507,  the  Pope  saw  the 
model  and  approved  it.  It  was  at  this  time  that  he  left  Bologna  for 
Rome.  The  first  cast  of  the  statue  failed,  and  it  was  not  ready  to 
be  placed  in  its  position,  before  the  portal  of  S.  Petronio,  until  the 
21st  of  February,  1508.  The  Pope  was  represented  in  a  sitting 
attitude  three  times  as  large  as  life ;  the  right  hand  was  raised,  and 
in  the  left  were  the  keys  of  S.  Peter.  The  work  being  finished, 
Michael  Angelo  returned  to  Florence.  In  considering  his  more 
private  life,  he  seems  to  have  been  especially  alone.  Other  artists 
shunned  him,  not  only  from  jealousy,  but  because  they  disliked  his 
reproofs.  He  asked  the  son  of  Francia,  a  beautiful  boy,  to  tell  his 
father  that  his  living  figures  succeeded  better  than  those  he  put  in 
his  pictures.  One  reason  for  this  severity  was,  that  he  so  exalted  the 
mission  of  an  artist,  and  so  faithfully  adhered  to  his  idea  of  duty, 
that  he  despised  those  who  accepted  an  order  for  what  they  could 
not  worthily  fulfil.  He  assisted  most  cordially  those  who  claimed  his 
help,  and  it  is  possible  that  he  wounded,  without  intending  it,  those 
whom  he  considered  unfaithful  in  their  art.  At  Florence  he  had 
much  to  do  :  the  cartoon  should  be  painted,  the  bronze  "  David,"  and 
the  "  Apostles  "  finished,  and  it  was  desired  that  he  should  make  a 
colossal  statue  for  the  square  before  the  Palace  of  the  Government. 


BUONAROTTL  1 49 

But  Julius  summoned  him  to  Rome  in  March,  1508,  and  insisted 
that  he  should  paint  the  ceiling  of  the  Sistine  Chapel.  The  task  did 
not  please  him.  He  said  he  had  painted  nothing  in  colors,  and  must 
have  other  work.  But  the  Pope  only  became  more  obstinate,  and  the 
master  undertook  the  work.  The  first  difficulty  to  be  overcome  was 
the  arrangement  of  a  scaffolding.  This  was  done  by  Michael  Angelo 
himself,  and  then  came  another  obstacle,  in  the  choice  of  assistants. 
After  some  time  he  selected  a  half  dozen,  and  commenced  his  work. 
He  soon  found  that  he  could  not  employ  them.  He  had  not  the 
heart  to  tell  them  so,  and  so  he  went  suddenly  away,  and  when  they 
came  to  work  they  found  the  chapel  closed.  They  understood  what 
he  meant,  and  returned  to  Florence.  He  destroyed  all  they  had 
done,  and  for  the  future  arranged  that  no  one  but  his  color-grinder 
and  the  Pope  should  come  upon  the  scaffolding.  Julius  soon  became 
impatient,  and  tormented  him  with  his  haste.  Between  the  spring 
and  autumn  of  1509,  half  the  ceiling  was  completed.  The  Pope 
insisted  that  the  scaffolding  should  come  down,  and  what  was  done 
should  be  shown  to  the  Romans.  In  order  to  ascend  the  scaffolding, 
the  Pope  was  obliged  to  climb  on  ladders,  and  to  take  the  hand  of 
the  artist  for  the  last  step.  He  came  one  day  and  said,  ' '  When 
will  you  come  to  an  end?"  "  When  I  can,"  replied  the  ma.-u  T. 
"You  seem  indeed  desirous,"  thundered  the  Pope,  "that  I  should 
have  you  thrown  down  from  this  scaffolding."  The  master  took 
the  hint,  and  consented  that  his  work  should  be  shown.  Even  in 
the  dust  which  filled  the  chapel,  when  the  beams  were  removed,  the 
Pope  remained,  admiring  the  work;  and  on  All  Saint's  Day  the 
whole  of  Rome  crowded  there  to  gaze  upon  the  painting  which  had 
grown  like  magic.  The  ceiling  of  this  chapel  may  be  called  the 
lie-inning  of  modern  painting.  Before  this,  arched  ceilings  had 
been  divided  into  different  compartments,  but  Michael  Angelo  ig- 
nored the  dome;  arranged  his  pictures  as  if  the  space  were  open 
above,  and  built  an  architecture  out  into  the  air,  all  by  means  of 
perspective  delusion;  and  united  the  imaginary  walls,  to  which  he 
had  given  a  magnificent  cornice,  by  airy  arches,  extending  from  one 
marble  breastwork  to  another.  The  spaces  between  the  arches  were 
filled  with  paintings  drawn  in  perspective.  The  figures,  which  only 
serve  to  decorate  the  architectural  part  of  the  painting,  are  almost 
endless.  Colossal  slaves  are  seated  by  the  arches  at  the  edge  of  the 
cornice;  bronze  medallions  appear  inserted  in  the  marble;  figures 
like  caryatides  seem  to  support  the  edge  of  the  cornice,  etc.  There 
is  not  a  spot  left  unpainted.  To  describe  the  paintings,  or  even  to 
enumerate  their  subjects,  would  require  more  space  than  we  can 
allow  ourselves.  The  Creation  of  the  World,  of  Adam  and  Eve, 
the  Expulsion  from  Paradise,  the  Sacrifices  of  Cain  and  Abel,  the 
l)eluge,  Sibyls  and  Prophets,  the  Death  of  Haman,  the  Serpent  in 
the  Wilderness,  the  Death  of  Goliath,  and  Judith  and  Holofernes, 


150 


BUONAKOTTI. 


are  but  a  part  of  the  subjects  represented.     At  this  time  Michael 

Angelo  stood  alone  in 
Rome.  Raphael  was  also 
painting  in  the  Vatican, 
and  they  appeared  as 
the  heads  of  parties. 
The  Pope  was  on  the  side 
of  Michael  Angelo;  the 
artists  flocked  around 
Raphael.  The  differ- 
ence between  these  two 
masters  was  as  great  as 
that  between  Leonardo 
and  Michael  Angelo. 
We  can  only  think  of 
Raphael  as  young,  beau- 
tiful, and  happy,  with 
an  inexhaustible  power 
enabling  him  to  work 
always;  a  power  ap- 
parently unaffected  by 
change  of  time  or  cir- 
cumstance. Michael  An- 
gelo, on  the  other  hand, 
was  animated  or  re- 
tarded by  the  course  of 
events.  He  could  not 
forget  the  interests  of 
his  family  or  those  of 
his  country;  and  if  his 
life  is  considered  in  its  whole,  he  seems  involved  in  everything  of 
importance  that  occurred  about  him;  while  the  life  of  Raphael  can 
be  told  as  a  separate  tale,  scarcely  including  any  but  himself,  and 
the  mistress  whom  he  loved.  Yet  we  know  that  the  works  which 
Raphael  produced  in  Rome  are  wonderfully  above  his  former  ones. 
May  not  the  fact  that  here  he  was  opposed  to  Michael  Angelo  have 
developed  his  strength  to  the  utmost  ?  Bramante,  too,  now  appeared 
as  an  opponent  of  Michael  Angelo,  and  there  were  many  attempts 
made  to  dislodge  the  great  master  from  his  favor  with  the  Pope,  and 
his  employment  in  the  Sistine  Chapel.  He  now  began  the  paintings 
of  the  second  half,  which  were  the  most  magnificent  of  his  works. 
When  the  Pope  had  insisted  upon  removing  the  scaffolding,  the  pic- 
tures lacked  retouching  and  gold.  Julius  now  wished  these  wants  to 
be  supplied,  but  Michael  Angelo  dissuaded  him  from  this,  from  his 
anxiety  to  commence  his  new  works  at  once.  "  But  it  looks  so  poor," 
objected  Julius.  "  They  arc  only  poor  people,"  replied  Michael 


THE  PKOPHET  JEREMIAH.  BY  M.  ANGELO. 

From  the  Sistine  Chapel. 


BUONAROTTI.  151 

Angelo,  a  whom  I  have  painted  there,  and  did  not  wear  gold  on  their 
garments."  This  satisfied  the  Pope,  who  urged  him  on  as  of  old,  and 
would  not  allow  him  to  go  to  Florence,  although  his  presence  was 
necessary  there.  His  bronze  "  David  "  was  finished  by  another  sculp- 
tor, and  many  other  affairs  required  his  attention.  At  midsummer, 
1510,  he  insisted  upon  leave  of  absence.  The  Pope  demanded  when 
he  could  be  ready,  in  that  case,  with  his  chapel.  "  When  I  can," 
replied  he.  "When  I  can!  When  I  can!"  repeated  the  Pope 
angrily,  and  struck  the  artist  with  his  stick.  Michael  Angelo  went 
home,  and  the  Pope  sent  his  favorite  page  after  him  with  money. 
His  stay  in  Florence  was  short,  and  after  his  return  the  painting 
went  rapidly  on  ;  and  the  second  half  of  the  chapel  was  finished  in 
the  same  time  that  the  first  had  required,  only  twenty  months 
being  given  to  the  whole  work.  Grimm  says,  "  It  needed  the  meet- 
ing of  these  two  men  ;  in  the  one  such  perseverance  in  requiring,  and 
in  the  other  such  power  of  fulfilling,  to  produce  this  monument  of 
human  art."  In  1512,  another  revolution  took  place  by  which  Flor- 
ence came  again  under  the  dominion  of  the  Medici.  Michael  Angelo 
was  in  Koine,  but  his  letters  show  how  much  he  and  his  family  suf- 
fered ;  and  bis  father  writes  him  that  be  is  thought  to  be  opposed  to 
the  Medici.  His  position  in  Rome  was  not  a  happy  one.  He  could 
not  obtain  the  money  which  the  Pope  owed  him,  and  Raphael's  influ- 
ence was  increased,  while  his  own  was  lessened.  A  separation 
seemed  to  have  come  between  himself  and  the  Pope,  and  be  went  for 
a  time  to  Florence.  On  the  21st  of  February,  1513,  Julius  died. 
Almost  immediately  Michael  Angelo  resumed  his  work  upon  the  mau- 
soleum. The  Pope  had  mentioned  this  in  bis  will,  and  his  heirs  wen- 
anxious  that  it  should  be  completed.  A  new  plan  and  contract  were 
made.  It  was  at  this  time  that  he  worked  upon  the  "Moses,"  and 
probably,  also,  upon  the  two  chained  youths  now  in  the  Mus.  of  the 
Louvre.  For  three  years  he  worked  continually  at  the  mausoleum. 
He  resided  a  part  of  this  time  in  Florence,  but  he  had  been  released 
from  all  his  engagements  there.  The  twelve  Apostles  had  been  dis- 
tributed among  younger  sculptors,  and  his  cartoon  had  been  mali- 
ciously destroy ed  in  1. ">!:>.  Leo  X.  bad  succeeded  Julius,  and  the 
first  matter  in  which  he  employed  Michael  Angelo  was  in  the  erection 
of  a  facade  to  the  ch.  of  S.  Lorenzo  in  Florence.  This  was  a  great 
work,  and  he  raised  many  objections  against  undertaking  it;  the 
principal  one  being  that  he  was  bound  by  contract  to  work  upon  the 
mausoleum,  and  bad  already  received  money  for  it.  But  the  Pope, 
overcame  all  difficulties,  promised  to  satisfy  his  employers,  and  also 
to  allow  him  to  go  on  with  the  mausoleum ;  and,  for  this  purpose, 
promised  that  the  marble  should  be  conveyed  to  Florence  at  his  own 
expense,  which  promise  was  not  fulfilled.  During  the  winter  of  151 7- 
18,  while  Michael  Angelo  was  breaking  up  his  home  in  Rome,  in  order 
to  remove  to  Florence,  he  executed  a  painting.  It  is  not  positively 


152  BUONAROTTI. 

known  what  this  work  was,  but  there  is  good  reason  for  believing 
it  to  have  been  one  from  which  Sebastian  del  Piombo  painted  the 
"  Scourging  of  Christ,"  in  a  chapel  of  S.  Pietro,  in  Montorio.  On  the 
25th  of  February,  1518,  Michael  Angelo  was  again  in  Carrara  for 
the  purpose  of  obtaining  marble,  which  he  needed  in  Florence. 
Upon  his  arrival  he  found  that  the  contracts  which  he  had  made  had 
not  been  carried  out.  He  had  much  trouble,  and  at  length,  in  order 
to  show  the  people  of  Carrara  that  he  could  do  without  them,  he 
opened  quarries  at  Seravezza  and  Pietrasanta,  situated  on  the  Flor- 
entine territory.  But  these  things  involved  him  in  great  difficulty, 
and  several  months  after,  he  writes  that  he  is  tempted  to  leave  every- 
thing and  return  to  Carrara,  for  they  had  called  him  back  with  as 
many  entreaties  as  if  he  were  Christ  himself.  At  length  he  went 
and  ordered  his  blocks  sent  to  Florence,  and  afterward  divided  his 
time  between  Carrara,  the  new  quarries,  and  Florence,  where  they 
were  laying  the  foundation  for  the  f a9ade.  In  August  he  bought  the 
land  on  which  to  build  a  house.  All  this  year  he  had  nothing  but 
trouble.  In  the  new  quarries  there  was  much  sickness,  and  the  men 
were  idle  and  unfaithful  in  every  way.  In  October  he  was  himself 
ill ;  but  at  last,  during  the  winter,  he  succeeded  in  conveying  a  num- 
ber of  pillars  and  blocks  to  the  sea-shore,  to  be  shipped  to  Florence, 
when,  in  the  spring,  a  command  came  from  Rome  to  leave  every- 
thing. The  building  was  postponed,  and  no  payment !  Although 
Michael  Angelo  complained  to  the  Medici  in  this  matter,  the  circum- 
stances by  which  they  were  surrounded  compelled  them  to  this 
course  of  action.  For  a  time  Michael  Angelo  was  much  disheartened. 
At  last  he  commenced  again  upon  the  mausoleum.  Card.  Medici 
now  wished  to  erect  a  monument  to  his  family  in  the  form  of  a 
chapel,  in  the  ch.  of  S.  Lorenzo.  This  was  commenced  in  1520. 
In  1520  also,  Raphael  died  ;  Leonardo  had  died  in  France  a  year 
before;  and  soon  after  came  the  sudden  death  of  the  Pope.  The 
Medici  had  little  money,  and  their  work  progressed  slowly  ;  and 
Michael  Angelo  was  left  free  for  the  mausoleum  and  some  incidental 
labors.  Adrian,  who  had  succeeded  Leo,  did  not  live  a  year  in 
the  Vatican.  His  simplicity,  and  his  mode  of  life,  had  not  suited 
the  people,  and  he  died  unlamented.  Card.  Medici  now  became 
Pope,  and  the  building  of  the  Sacristy  was  resumed,  besides  which 
it  was  resolved  to  erect  a  library  of  S.  Lorenzo.  Michael  Angelo 
received  fifty  ducats  monthly,  and  commenced  his  work  upon  the 
statues  of  the  Dukes  of  Nemours  and  Urbino,  two  of  the  noblest 
monuments  that  sculpture  has  produced.  In  the  spring  of  1524,  the 
Card,  of  Cortona  made  his  entrance  into  Florence  as  regent,  and 
two  months  later  Ippolito  and  Alessandro,  in  whose  name  he  reigned, 
followed  him.  In  1525,  Clement  VII.  summoned  Michael  Angelo 
to  Rome.  The  heirs  of  Julius  II.  complained  of  the  delay  in  the 
completion  of  the  mausoleum,  but  it  was  agreed  that  the  matter 


BUONAROTTI.  153 

should  be  left  to  the  Pope,  and  he  decided  that,  on  account  of  his 
own  need  of  Michael  Angelo,  the  other  work  should  be  given  up. 
Bandinelli  was  at  this  time  the  favorite  of  Clement  VH.  He  hated 
Michael  Angelo,  and  desired  to  obtain  the  commission  for  a  statue  to 
be  placed  at  the  gate  of  the  Palace,  opposite  the  "  David."  With  the 
new  Pope  he  succeeded,  and  the  marble  for  the  statue  arrived  at 
Florence  in  1525.  The  citizens  felt  that  Michael  Angelo  had  been 
unjustly  treated;  and  when  the  marble  fell  from  the  vessel  into  the 
Arno,  a  lampoon,  written  in  rhyme,  was  circulated,  in  which  it  was 
said  that  the  marble,  sorry  to  have  been  taken  from  Michael  Angelo, 
would  have  drowned  itself  in  order  to  escape  Bandinelli.  The  dis- 
grace was  all  the  greater  when  we  consider  that  Bandinelli  was 
nothing.  Had  he  been  a  great  master,  the  trial  would  have  been 
lessened,  both  for  the  citizens  and  their  sculptor.  The  cupola  of  the 
new  Sacristy  was  completed  in  1525.  This  year  and  the  two  following 
ones  were  times  of  great  political  agitation,  both  in  Florence  and 
Rome;  and,  at  length,  on  the  17th  of  May,  1527,  the  Medici  had 
departed  from  Florence,  and  the  Consiglio  Grande  was  to  assemble 
on  the  following  day.  Michael  Angelo  was  in  Florence.  Little 
progress  had  been  made  in  the  Sacristy,  which  was  now,  of  course, 
given  up.  There  is  no  doubt  but  Michael  Angelo  sat  in  the  Consig- 
lio. Capponi  was  elected  gonfalonier.  At  this  time  Clement  was 
imprisoned  in  the  Castle  of  S.  Angelo.  In  December  he  obtained 
his  freedom,  and  went  to  Orvieto,  where  he  opened  negotiations  with 
Capponi.  Little  is  known  of  Michael  Angelo  at  this  time ;  but  in 
August,  1527,  the  new  government  transferred  the  block  of  marble 
to  him.  With  the  year  1529,  a  fierce  strife  of  parties  began  in  Flor- 
ence. Capponi  was  forbidden  by  the  state  to  communicate  with  the 
Medici.  It  was  discovered  that  he  did  so,  and  his  office  was  iimnr- 
diately  taken  from  him.  Carducci  was  appointed  in  his  place.  In 
1529,  Michael  Angelo  was  appointed  superintendent  of  the  fortifi- 
cations of  Florence  and  the  Florentine  territory,  and  the  govern- 
ment of  Carducci  demanded  an  activity  that  his  power  for  labor 
could  scarcely  satisfy.  He  first  turned  his  attention  to  the  fortifica- 
tion of  S.  Miniato,  and  the  works  went  on  with  wonderful  rapiditv. 
Pisa,  Livorno,  Cortona,  and  Arezzo  were  to  be  made  defensible,  and 
in  the  early  part  of  1529  Michael  Angelo  was  sometimes  in  Florence, 
and  sometimes  in  these  other  cities.  Ferrara  was  at  this  time  the 
real  military  state  in  Italy,  and  its  duke  was  regarded  as  the  best 
soldier  and  politician  .of  the  time.  Michael  Angelo  was  sent  by  the 
government  to  confer  with  him,  and  to  see  the  fortifications,  and 
arrived  at  Ferrara  the  2d  of  August.  He  remained  more  than  a 
week,  and  was  awaited  at  Florence  with  great  anxiety.  During  his 
absence  tidings  arrived  of  the  peace  at  Cambray,  and  it  was  plain 
that  Florence  must  now  depend  upon  herself  alone.  On  the  8th  of 
September  Michael  Angelo  had  been  required  to  give  his  advice  at 


154  BUONAROTTL 

Arezzo.  He  soon  after  this  became  suspicious  of  Malatesta,  to 
whom  the  height  of  S.  Miniato  had  been  assigned.  He  went  to 
the  palace  to  express  his  apprehensions.  He  was  sure  that  Malatesta 
was  a  traitor.  At  the  palace  they  listened  with  scorn,  and  were 
offended.  Leaving  it  in  great  agitation  he  met  a  friend,  Rinaldo 
Corsini,  who  assured  him  that  the  following  day  the  Medici  would  be 
in  the  city.  They  decided  to  fly.  They  tried  one  gate  after  another 
which  they  found  closed.  At  length  they  came  to  the  Porta  di 
Prato.  Michael  Angelo  gave  his  name  as  superintendent  of  fortifica- 
tions, and  they  were  allowed  to  pass.  Nothing  can  free  him  from 
reproach  in  this  matter;  but  justice  requires  that  the  motives  by 
which  he  was  influenced  should  be  considered.  He  saw  plainly  what 
must  occur.  He  was  unable  to  arouse  those  in  authority  to  the 
truth.  He  would  not  witness  the  destruction  of  Florence.  His  aged 
father  and  his  family  depended  upon  him,  and  he  must  preserve  his 
life.  After  many  adventures  he  arrived  in  Venice,  Corsini  having 
been  separated  from  him.  It  was  thirty  years  since  he  had  seen 
that  city,  and  during  that  time  its  art  had  been  perfected.  The 
nobles  wished  to  take  advantage  of  this  opportunity  to  retain  Michael 
Angelo  in  Venice,  but  he  declined.  He  contemplated  going  to 
France.  While  he  remained,  he  lived  quietly  in  a  hired  house.  The 
30th  of  September,  1529,  a  proclamation  of  proscription  was  pub- 
lished in  Florence  against  thirteen  citizens,  who  were  declared  to  be 
rebels  unless  they  returned  before  the  6th  of  October.  The  name  of 
Michael  Angelo  was  the  eighth  upon  the  list.  The  great  master  had 
always  admired  Dante,  and  it  was  natural  that  at  this  time  he  should 
think  of  him.  For  he,  too,  had  gone  into  exile,  on  account  of  politi- 
cal views.  Grimm  thinks  that  his  sonnets  on  Dante  must  have  been 
written  at  this  time.  I  give  a  single  quotation  :  — 

"  I  speak  of  Dante,  —  him  whose  mighty  mind 
Was  ill-conceived  by  that  ungrateful  race 
With  whom  the  great  no  recognition  find. 
Oh !  were  I  he,  then  the  same  fate  were  mine, 
His  exile  and  his  power  alike  to  share; 
Happiest  of  all  that  earth  could  me  assign." 

Soon  letters  began  to  come  which  showed  him  how  much  they 
wanted  him  in  Florence.  At  length  he  was  summoned  to  Ferrara,  to 
meet  the  Florentine  ambassador  there,  and  after  much  negotiation,  in 
the  middle  of  November  he  returned  once  more  to  his  native  city. 
It  was  on  this  journey  that,  in  Modena,  he  met  Begarelli.  Tliis 
artist  knew  not  how  to  use  marble ;  but  his  statues  in  clay  were  won- 
derful, and  Michael  Angelo  is  said  to  have  exclaimed,  "  Alas  for 
the  statues  of  the  ancients,  if  this  clay  were  changed  into  marble  !  " 
The  winter  which  followed  his  return  was  one  of  fearful  suffering  in 
Florence.  In  January  the  supreme  command  was  given  to  Malatesta 
Baglioni.  The  imperialists  kept  up  a  close  siege,  and  between  the 


BUONAROTTI.  155 

15th  of  March  and  the  15th  of  April,  5,800  persons  perished.  Great 
scarcity  prevailed.  Meat  almost  disappeared,  and  sickness  was  in- 
creasing. Hope  and  fear  alternately  swayed  the  city.  The  history 
of  the  city  must  be  the  history  of  Michael  Angelo.  He  was  much 
occupied  upon  the  fortifications,  especially  those  of  S.  Miniato. 
There  were,  however,  days  when  the  danger  seemed  less,  which  he 
spent  in  quiet  among  his  marbles.  He  took  up  his  brush,  neglected 
for  nearly  twenty  years,  and  commenced  the  "  Leda  with  the  Swan," 
for  the  Duke  of  Ferrara.  This  picture  has  disappeared,  but  engrav- 
ings and  copies  remain.  That  in  the  Dresden  Gall,  gives  a  good 
idea  of  the  design  and  painting.  At  length  a  gleam  of  hope  passed 
over  the  city.  Francesco  Ferrucci  appeared  without  the  walls.  He 
demanded  reinforcements^  from  Florence.  They  went  to  him,  and 
from  the  24th  of  March  until  the  3d  of  August  he  was  engaged  in 
brave  attempts  to  deliver  the  city.  On  that  day  he  was  killed. 
Hope  and  courage  seemed  dead,  and  on  the  8th  of  August,  1530,  the 
freedom  of  Florence  was  ended,  and  the  followers  of  the  Medici 
ruled.  Many  of  the  citizens  fled,  others  were  concealed.  Michael 
Angelo  was  among  the  latter.  But  his  name  was  too  great  for  any 
harm  to  come  to  him;  and  at  length,  freedom,  and  the  continuance 
of  his  old  commissions  were  offered  him,  if  he  would  come  forward. 
He  did  so,  and  resinned  his  labors  in  the  Sacristy.  He  seemed  to 
endeavor  to  kill  himself  with  work,  and  within  a  few  months,  the 
four  colossal  figures,  which  lie  on  the  coffins  at  the  foot  of  the  stat- 
ues of  Lorenzo  and  Giuliano,  were  placed  in  niches.  They  repre- 
sent Morning,  Evening,  Day,  and  Night  ;  and,  although  none  are  fin- 
ished, they  have  excited  wonder  and  admiration,  and  are  considered 
by  many  as  the  greatest  works  of  this  great  man.  These  statues 
and  those  of  the  two  Dukes  seem  to  have  been  carried  on  equally. 
The  artist  was  treated  with  consideration,  and  money  was  paid  when- 
ever it  was  required.  This  expressed  to  him  that  his  political  past 
was  to  be  forgotten.  But  he  never  denied  his  views.  When  the 
statue  of  Night  was  first  exhibited,  verses  were  aflixed  to  it  ac- 
cording to  the  custom  of  the  time.  Among  these  was  the  following  : 
"  Night,  whom  you  see  slumbering  hen-  so  charmingly,  has  been 
carved  by  mi  angel,  in  marble.  She  sleeps,  she  lives;  waken  her, 
if  you  will  not  believe  it,  and  she  will  speak."  The  word  angel,  here, 
referred  to  the  Angelo  of  the  sculptor's  name.  He  made  the  statue 
reply  thus:  "  Sleep  is  dear  to  me.  and  still  more  that  1  am  stone, 
so  long  as  dishonor  and  shame  last  among  us;  the  happiest  fate  is  to 
see,  to  heai-  nothing;  for  this  reason  waken  me  not  —  I  pray  you 
speak  gently.''  The  anger  expressed  in  these  lines  is  as  great  as 
the  courage,  which  dared  thus  publicly  to  utter  them.  This  was 
probably  written  in  the  spring  of  1531.  In  September,  1531,  the 
first  notice  of  Michael  Angelo  after  the  conquest  of  the  city  occurs. 
It  is  ii  letter  addressed  to  Uaccio  Vulori,  in  Rome,  written  by  an  uncle 


156  BUONAROTTI. 

of  Antonio  Mini,  who  was  in  Michael  Angelo's  service.  His  friends 
had  become  alarmed,  and  they  desired  that  the  Pope  should  know 
of  his  situation.  He  was  now  almost  sixty,  and  the  letter  pictures 
him  sick  and  sorrowful,  unable  to  sleep,  having  no  appetite,  and 
wilfully  working  in  a  cold,  damp  place.  And  in  the  midst  of  all 
this  wretchedness  he  had  produced  his  wonderful  "Aurora,"  His 
mind  was  tormented,  too,  about  the  mausoleum  of  Julius.  He  had 
received  money,  but  had  not  completed  the  work.  He  feared  that 
he  should  die,  and  that  his  heirs  would  be  entangled  in  a  lawsuit  ; 
and  he  begged  the  Pope,  as  well  as  the  Duke  of  Urbino,  that  a  set- 
tlement should  be  made.  His  friends  and  the  Pope  undertook  to 
assist  him,  and  he  went  to  Rome  where  the  matter  was  satisfactorily 
arranged.  On  the  30th  of  April,  1532,  he*  returned  to  Florence  to 
continue  his  work  at  the  Sacristy  ;  and  now,  for  the  first  time,  he 
employed  assistants.  He  worked  steadily  until  September,  when  he 
went  again  to  Rome,  and  made  the  drawing,  according  to  which  the 
mausoleum  was  at  length  finished.  We  have  no  information  of  him 
from  this  time  until  September,  1534,  when  Clement  VII.  died. 
Michael  Angelo  then  left  his  work  at  S.  Lorenzo,  never  to  resume 
it.  He  had  incurred  the  displeasure  of  Alessandro,  who  reigned  in 
Florence  ;  but  the  protection  of  the  Pope  had  sufficed  to  preserve  him 
from  insult.  Now  Clement  was  dead  he  would  return  to  Florence  upon 
no  condition.  Other  things  in  Florence  had  pained  him.  A  citadel 
had  been  built  by  Antonio  di  San  Gallo,  and  Bandinelli's  group  had 
been  placed  opposite  the  "David."  Just  thirty  years  elapsed  be- 
tween the  erection  of  the  two  statues,  and  those  years  may  be  said  to 
have  witnessed  the  rise,  progress,  and  early  decline  of  Italian  art. 
The  world  had  almost  ceased  to  reckon  Michael  Angelo  among  its 
painters,  when  he  again  entered  the  Sistine  Chapel,  and  commenced 
his  "  Last  Judgment."  When  first  this  task  was  proposed  to  him  he 
declined  it.  After  this  a  discussion  arose  between  himself  and  Se- 
bastian del  Piombo  as  to  whether  oil  or  fresco  painting  should  be 
used.  Michael  Angelo  declared  oil  painting  was  for  women,  and 
men  should  paint  in  fresco.  Paul  III.,  the  new  Pope,  thoroughly 
appreciated  Michael  Angelo,  and  in  his  intercourse  with  that  master 
his  character  appears  in  its  best  light.  In  1513,  when  Card.  Far- 
nese,  the  master  had  made  for  him  the  designs  for  two  candelabra 
which  still  remain  in  the  Sacristy  of  S.  Peter's.  When  he  first  sent 
for  the  sculptor,  and  requested  him  to  enter  his  service,  he  was 
told  that  it  was  impossible,  on  account  of  his  engagement  with  the 
Duke  of  Urbino.  The  Pope  answered  angrily,  "  It  is  now  thirty 
years  that  I  have  had  this  desire  ;  and,  now  that  1  am  Pope,  shall  I 
not  be  able  to  effect  it  V  Where  is  the  contract,  that  I  may  tear  it !  " 
But  Michael  Angelo  remained  firm,  and  even  contemplated  removing 
into  the  territory  of  Genoa,  in  order  to  escape  the  Pope.  One  day, 
Paul  appeared  in  his  atelier  with  eight  cardinals,  and  desired  to  see 


BUONAROTTI. 


157 


his  sketches  of  the  "  Last  Judgment."     The  sculptor  was  at  work  on 
the  "  Moses,"  and  they  declared  that  that  one  statue  was   sufficient 


STATUE  OF  MOSES.      BY  M.    ANGELO. 

S.  Pietro  in  Vincoli,  Rome. 


158  BUONAROTTL 

for  a  monument  to  Pope  Julius.  The  end  of  all  was,  that  the  Pope 
satisfied  the  Duke  of  Urbino,  and  Michael  Angelo  began  to  paint  the 
chapel.  He  worked  at  this  six  years  without  assistance.  Of  all  the 
frescoes  of  the  sixteenth  century,  perhaps  none  has  suffered  more 
from  the  ravages  of  time,  and  at  the  hands  of  men,  than  this  paint- 
ing. Copies  and  engravings  make  it  possible  to  imagine  what  was 
once  there.  But  the  overpowering  effect  which  its  first  sight 
should  produce  is  lost.  The  sentiments  of  the  world,  too,  are  so 
changed  that  such  a  representation  cannot  appeal  to  us  as  it  must 
have  done  to  those  to  whom  Michael  Angelo  preached  with  his 
brush.  In  this  work  he  gave  form,  and  presented  to  the  sight  what 
Dante  had  pictured  to  the  imagination.  Like  everything  else  which 
is  symbolic,  it  is  meaningless  if  we  cannot  supply  its  meaning  from 
our  own  souls.  "  As  we  look,  however,  at  the  '  Last  Judgment,'  on 
the  wall  of  the  Sistine  Chapel,  it  is  no  longer  a  similitude  to  us,  but 
a  monument  to  the  imaginative  spirit  of  a  past  age,  and  a  strange 
people,  whose  ideas  are  no  longer  ours."  Much  of  importance  to 
the  world  occurred  during  the  painting  of  this  picture.  The  Flor- 
entines in  Rome  endeavored  to  regain  their  old  liberty.  The  Refor- 
mation was  at  work  in  Germany,  and  a  circle  of  distinguished  men 
surrounded  the  Pope,  and  conferred  unusual  lustre  upon  the  society 
of  the  Vatican.  Among  these  men  was  Michael  Angelo;  not  that 
he  mingled  constantly  with  them,  for  he  gave  himself  no  rest,  but  he 
knew  their  thoughts  and  hopes,  and  sympathized  with  those  who 
would  have  brought  about  a  reconciliation  between  the  Lutherans 
and  the  Church.  In  1537  or  1538,  the  old  Ludovic  died,  and  Mi- 
chael Angelo  was  shaken  in  his  very  soul  by  this  sorrow.  It  was 
on  this  occasion  that  he  wrote  his  beautiful  sonnet  commencing,  — 

"Already  had  I  wept  and  sighed  so  much 
I  thought  all  grief  forever  at  an  end, 
Exhaled  in  sighs,  shed  forth  in  bitter  tears." 

This  poem  gives  us  an  insight  into  the  religious  belief  of  Michael 
Angelo.  He  makes  no  reference  to  purgatory,  but  urges  the  grace 
of  God  (la  grazia  Divina),  and  speaks  of  the  certainty  of  the  perfect 
happiness  of  his  father.  This  involved  the  question  which  was 
agitating  the  Christian  world,  yet  in  his  thought  he  seems  not  to 
recognize  the  possibility  of  a  doubt.  Before  this,  when  his  brother 
had  died,  he  wrote,  "  Although  all  those  sacraments  which  the  Church 
enjoins  were  not  administered  to  him,  yet  if  he  showed  true  repent- 
ance and  resignation  to  the  will  of  God,  that  is  sufficient  for  his 
eternal  blessedness."  At  another  time  he  wrote  to  his  brother  to 
inquire  out  some  case  where  he  could  do  good  secretly;  for  he  wished 
to  do  something  for  the  welfare  of  his  own  soul,  but  desired  that  it 
should  be  known  to  no  one.  From  all  this  the  healthiness  of  his 
nature  appears.  There  was  no  sentimentality  or  overstraining,  but 
a  trustful  and  obedient  dependence  upon  God.  The  Sistine  Chapel 


BUONAROTTL  159 

was  opened  and  the  "  Last  Judgment"  exposed  to  the  view  of  the 
people  at  the  Christmas  festival  of  1541.  During  the  summer  before 
the  Inquisition  had  been  established  in  Rome,  and  a  panic  had  spread 
throughout  Italy.  Michael  Angelo  had  given  the  face  of  the  master- 
of-ceremonies  to  the  infernal  judge,  Minos.  The  Pope  jestingly  said 
that  he  could  do  nothing,  as  even  Popes  could  not  release  others  from 
eternal  suffering.  It  had  been  proposed  to  represent  the  Fall  of  the 
Angels  upon  the  opposite  wall.  This  was  now  spoken  of  no  more,  and 
soon  the  ' '  Last  Judgment ' '  was  abused  from  the  pulpits.  During 
the  time  between  1536  and  1541,  Michael  Angelo  had  been  especially 
happy  in  the  friendship  of  Vittoria  Colonna.  All  his  life  he  had  loved 
children,  and  his  poems  show  that  he  had  loved  women.  But  he 
had  kept  himself  so  much  alone  that  he  had  seemed  as  if  he  had 
wished  for  no  friends.  He  was  more  than  sixty  years  old  when  he 
met  Vittoria.  Descended  from  Fabrizio  Colonna,  and  the  widow  of 
Pescara,  she  was  equal  to  the  first  nobles  in  Europe.  She  was 
received  by  the  Pope  with  great  honors,  and  the  Emperor  visited 
her.  Her  most  intimate  friends  were  the  Cardinals  Pole  and 
Contarina.  It  is  not  known  how  Michael  Angelo  made  her  acquaint- 
ance. Francesco  d'Ollanda,  a  miniature  painter,  sent  by  the  King 
of  Portugal  to  Italy,  describes  two  Sundays  which  he  passed 
with  Vittoria  and  Michael  Angelo.  The  meeting  was  in  the  little 
church  of  S.  Silvestro,  opposite  the  Quirinal,  on  Monte  Cavallo. 
The  description  of  these  meetings  is  of  extreme  interest,  and  presents 
the  friendship  of  the  sculptor  and  the  lady  in  a  charming  light. 
Vittoria,  though  no  longer  young,  was  beautiful,  cheerful,  and  en- 
dowed with  the  highest  intelligence.  She  exercised  over  Michael 
Angelo  a  gentle  authority.  For  the  first  tune  he  experienced  the 
happiness  of  yielding  to  love  and  respect  for  a  woman,  and  there  is 
little  doubt  that  these  years  were  the  happiest  of  his  life.  But  even 
she  fell  under  the  suspicion  of  the  Inquisition,  and  left  Rome  in  1541. 
To  the  two  following  years  belong  the  letters  and  poems  which  passed 
between  herself  and  Michael  Angelo.  It  is  said  that  he  wrote  her  so 
often  that  she  asked  him  to  restrict  himself  a  little.  She  feared  that 
he  could  not  go  to  his  work  at  a  proper  time  in  the  morning  if  he- 
wrote  so  much  at  night,  and  she  was  pre vented  by  his  letters  from 
passing  her  evenings  with  the  nuns  in  whose  convent  she  lived.  But 
one  letter  of  hers  is  known,  which  was  written  to  thank  him  for  the 
design  for  a  crucifix.  He  had  sent  it  for  her  approbation,  intending 
to  execute  it  if  it  pleased  her.  This  it  did  so  perfectly  that  she  de- 
clined to  return  it,  saying  that  nothing  more  perfect  had  ever  pre- 
sented itself  to  her,  and  with  graceful  tact  declares  "  I  would  rather 
that  he  who  did  this  drawing  should  execute  something  else  for  me." 
The  poems  written  by  Michael  Angelo  to  Vittoria  contain  most 
beautiful  testimony  to  her  influence  over  him.  The  sonnets  of  Vit- 
toria were  at  this  time  read  by  all  Italy,  and  she  was  accustomed  to 


160  BUONAKOTTI. 

send  them,  when  written,  to  Michael  Angelo.  In  the  autumn  of  1542 
they  again  met.  She  had  been  ill,  her  family  was  ruined,  and  not 
one  remained  in  Rome.  She  withdrew  to  a  convent  where  she  spent 
her  few  remaining  years.  To  this  time  her  portrait  by  Marcello 
Venusti  probably  belongs.  Many  believe  this  to  have  been  sketched 
by  Michael  Angelo.  In  1547,  she  died.  He  was  with  her  to  the 
last,  and  years  afterward  declared,  that  he  repented  nothing  so  much, 
as  that  he  had  only  kissed  her  hand,  and  not  her  forehead  and 
cheeks  in  that  last  hour.  The  loss  which  he  sustained  can  scarcely 
be  conceived.  He  was  seventy  years  old,  his  own  strength  was  failing, 
and  he  anticipated  no  joy  but  that  of  death.  When  the  "  Last  Judg- 
ment "  was  completed  he  had  desired  to  return  to  the  mausoleum.  But 
Paul  III.  would  not  yield  him.  He  had  added  a  new  chapel  to  the 
Vatican  which  was  named  for  himself,  and  he  was  determined  that 
Michael  Angelo  should  adorn  it  with  frescoes.  The  Duke  of  Urbino 
hated  the  Pope,  and  insisted  upon  his  rights.  But  it  was  at  length 
decided  that  the  painting  should  be  done.  It  consisted  of  two  large 
pictures  representing  the  "  Crucifixion  of  Peter  "  and  the  "  Conver- 
sion of  Paul."  They  were  finished  within  eight  or  nine  years.  In 
the  cleaning  and  restoration  they  have  undergone,  most  of  the  original 
work  has  disappeared,  and  their  first  appearance  can  be  best  imag- 
ined from  old  engravings.  These  were  his  last  paintings.  The  affair 
of  the  mausoleum  caused  him  great  suffering,  for  reports  were  circu- 
lated against  him,  and  Aretino,  a  powerful  writer  of  that  time,  ac- 
cused him  of  ingratitude  to  Pope  Julius,  and  represented  him  as  a 
thief  and  a  foe  to  Christianity.  Great  as  Michael  Angelo  was,  and 
insignificant  as  was  Aretino  in  comparison,  this  had  cast  a  stain  upon 
him  of  which  he  could  not  rid  himself.  In  the  year  which  followed 
the  death  of  Vittoria,  the  hope  which  he  had  always  cherished  for 
the  freedom  of  Florence  was  crushed.  Cosmo,  secure  in  his  power, 
endeavored  to  induce  Michael  Angelo  to  return  to  Florence,  and 
even  offered  to  make  him  one  of  the  forty-eight,  the  highest  honor 
for  a  Florentine.  He  declined  this  with  courtesy,  for  he  remembered 
his  relatives  in  Florence,  and  did  not  wish  to  injure  them  with  the 
Duke.  His  health  continually  failed,  his  sadness  increased,  and  his 
poems  show  how  the  thought  of  Vittoria  was  ever  with  him.  It  would 
seem  that  he  had  done  enough  to  render  his  fame  above  rivalry;  but 
there  were  nearly  twenty  years,  and  much  work  before  him,  when  at 
the  end  of  1546,  he  was  made  director  of  the  building  of  S.  Peter's, 
the  only  condition  of  his  acceptance  being,  that  he  should  receive  no 
salary.  S.  Peter's  had  been  commenced  in  1506,  by  Bramante,  who 
had  been  followed  by  Raphael,  Fra  Giocondo,  Giuliano  di  San  Gallo, 
Peruzzi,  and  Antonio  di  San  Gallo ;  and  yet  when  Michael  Angelo 
undertook  the  work,  he  was  able  to  construct  it  as  he  pleased,  and 
his  plans  were  so  far  carried  out  that  he  may  be  considered  as  the  real 
architect  of  the  church.  San  Gallo's  model,  and  Michael  Angelo'a 


BUONAROTTI.  161 

plan  may  now  be  compared,  for  they  remain  almost  side  by  side. 
Although  he  was  its  architect,  he  saw  nothing  of  the  S.  Peter's  of  our 
day,  for  the  fa9ade,  the  colonnades,  the  obelisk  and  fountains  have 
been  added  by  subsequent  architects.  And  yet  he  had  before  his 
mental  eye  a  S.  Peter's  more  mighty  than  we  have  seen,  and  one  that 
was  never  completed.  He  also  superintended  the  erection  of  the 
statue  of  Marcus  Aurelius,  and  completed  the  Farnese  Pal.  He  had 
in  mind  many  improvements  which  he  wished  to  make  in  Rome,  but 
it  would  seem,  as  we  review  his  life,  that  it  had  been  decreed  that  he 
should  finish  nothing.  He  acquired  the  name  even  among  his  con- 
temporaries, of  "II  gran  Michel  Angelo,"  but  when  his  unfinished 
works  are  compared  with  his  original  designs,  how  insignificant  they 
appear  in  comparison  with  what  he  might  have  done.  We  have  a 
single  instance  of  the  restoration  of  an  antique  statue  by  Michael 
Angelo,  and  it  is  not  positively  known  that  this  was  his  work.  It  is 
credited  to  him  only  because  no  other  could  have  done  it.  It  is  the 
right  arm  of  the  "  Dying  Gladiator. "  In  his  old  age  Michael  Angelo 
came  to  be  authority  in  Rome.  He  had  rivals  no  longer.  If  any- 
thing important  was  to  be  undertaken  his  advice  was  sought,  and  his 
decision  respected.  He  sat  like  a  Pope,  and  to  him  the  artists  came 
as  for  a  blessing.  His  household  was  small  and  simple.  His  servant 
Urbino,  and  a  maid,  served  him.  He  dined  alone,  and  at  noon. 
Anatomy  was  his  passion.  He  dissected  animals  of  every  kind,  and 
was  happy  when  a  human  subject  could  be  obtained.  He  always  had 
young  men  working  in  his  house.  Condivi  was  one  of  these.  In 
his  old  age,  like  a  child,  he  formed  many  friendships,  and  Tommaso 
dei  Cavalieri  was  especially  dear  to  him.  To  him  he  addressed  a 
flattering  sonnet.  Although  his  great  works  had  ceased  he  still 
amused  himself  with  brush  and  chisel.  He  drew  a  life-sized  portrait 
of  his  young  friend,  and  had  in  his  atelier  a  marble  group  of  Christ 
lying  dead  on  his  mother's  lap,  and  Joseph  of  Arimathea  standing  by, 
upon  which  he  continued  to  work.  But  he  wished  no  one  to  see  this, 
and  when  Vasari  once  came  to  him  in  the  evening  he  let  fall  his  lantern 
so  that  he  should  not  see  the  work,  and  said,  "lam  so  old  that 
death  often  pulls  me  by  the  coat  to  come  to  him,  and  some  day  I  shall 
fall  down  like  this  lantern,  and  my  last  spark  of  life  will  be  extin- 
guished." When  he  could  not  sleep  he  would  work  on  this  statue, 
and  had  a  pasteboard  cap  in  which  a  candle  was  fixed,  that  he 
might  have  a  good  light.  But  he  discovered  a  flaw  in  the  marble, 
and  intended  to  break  it  in  pieces.  He  gave  it,  instead,  to  one  of  his 
young  men,  and  it  is  now  under  the  dome  of  S.  Maria  del  Fiore 
in  Florence.  After  his  appointment  to  the  control  of  S.  Peter's  his 
authority  there  was  supreme.  From  his  age  his  death  was  constantly 
expected,  and  there  were  some  who  anticipated  succeeding  him  in 
his  office.  While  Paul  III.  lived,  the  rights  of  Michael  Angelo  were 
unquestioned.  The  Pope  died  in  the  autumn  of  1549.  In  the  sprin"1 
11 


162  BUONAROTTI. 

of  the  same  year  Michael  Angelo  had  been  very  ill,  and  after  his  re- 
covery had  devoted  himself  with  eagerness  to  his  office.  Julius  III., 
the  new  Pope,  projected  many  new  works.  Artists  of  every  kind  had 
full  employment,  Michael  Angelo  was  wanted  everywhere.  He 
undertook  no  commission,  but  he  drew  designs,  and  was  consulted 
on  every  plan.  A  new  trouble  arose  in  regard  to  S.  Peter's. 
Under  the  other  architects  this  building  had  been  a  source  of  wealth 
to  many.  Michael  Angelo  dismissed  some  and  reduced  the  wages  of 
others.  He  could  do  this  the  more  easily  because  he  received  no  pay 
himself.  Paul  III.  once  sent  him  a  sum  of  money,  which  was  imme- 
diately returned.  Complaints  were  made  against  him,  and  at  length 
Julius  HI.  called  a  council  and  required  the  sculptor  to  defend  him- 
self. Many  accusations  were  brought,  and  a  special  one  was  that  in 
a  certain  part  there  would  be  too  little  light.  Michael  Angelo  de- 
manded that  those  who  originated  the  reproof  should  come  forward. 
Two  Cardinals  presented  themselves,  to  whom  he  said,  "  I  intend  plac- 
ing three  other  windows  above  those  already  there."  "  You  never 
gave  a  hint  of  that,"  answered  the  Cardinals.  "  Nor  was  I  bound 
to  do  so,"  replied  the  sculptor,  u  nor  will  I  bind  myself  to  give  your 
lordships  or  any  one  else  information  of  my  intentions.  Your  office  is  to 
furnish  money,  and  to  take  care  that  it  is  not  stolen  ;  as  regards  the 
building  plan,  that  concerns  me  alone."  He  then  said  to  the  Pope, 
"  Holy  Father,  you  know  what  I  get  for  my  money,  and  that  if  my 
work  does  not  tend  to  the  saving  of  my  soul,  I  shall  have  expended 
time  and  trouble  in  vain  upon  it."  Julius  placed  his  hand  on  his 
shoulder  and  said,  "Your  eternal  and  temporal  welfare  shall  not 
suffer  from  it;  there  is  no  fear  of  that."  Thus  the  matter  was 
ended,  and  while  Julius  lived  the  sculptor  was  not  again  disturbed. 
From  time  to  time  Michael  Angelo  was  urged  to  return  to  Florence, 
and  when  Julius  III.  died,  in  1555,  the  request  was  again  repeated. 
One  of  the  Cardinals  whom  he  had  so  severely  reproved  now  ascended 
the  Papal  chair.  He  at  once  deprived  Michael  Angelo  of  his  pension, 
and  sent  him  each  month  a  salary,  which  he  each  month  returned. 
There  were  plots  against  him,  and  it  was  reported  that  he  had  become 
childish,  old,  and  weak.  At  this  time  the  Florentine  offers  became 
more  honorable  and  urgent,  but  he  would  not  go.  Paul  IV.  appears 
monstrous  in  history.  He  cared  nothing  for  art,  but  he  wished  S. 
Peter's  church  to  be  finished.  He  therefore  continued  Michael 
Angelo  in  office.  When  the  Spaniards  approached  Rome,  his  faith- 
ful Urbino  had  just  died.  It  would  have  seemed  the  time  for  him  to 
go  to  Florence,  but  instead,  he  went  to  the  mountains  of  Spoleto.  It 
was  almost  tbe  first  time  that  he  had  thoroughly  enjoyed  nature,  and  he 
afterwards  wrote,  "  I  have  left  more  than  half  my  soul  there,  for  truly 
there  is  no  peace  but  in  the  woods. "  From  this  time  he  answered  the 
urgent  requests  from  Florence  by  saying  that  it  would  be  a  sin  for  him 
to  go,  that  he  must  persevere  in  the  work  which  he  had  begun  in 


BUONAROTTI.  163 

God's  name.  At  length  they  ceased  to  urge  him,  and  in  the  last  year 
of  his  life  the  Duke  visited  him  in  Rome  and  showed  his  reverence  for 
him.  In  1558  the  Pope  died,  and  Pius  IV.,  his  successor,  was  be- 
sieged by  new  attacks  upon  Michael  Angelo.  But  he  listened  to  noth- 
ing, and  restored  his  pension  to  him.  He  knew  he  should  not  live  to 
see  the  dome  completed,  and  he  made  a  model  in  clay,  so  accurate  in 
its  proportions,  that  when  the  dome  was  commenced  many  years  later 
it  was  only  necessary  to  copy  it  on  a  colossal  scale.  Pius  IV.  was  a 
friend  to  the  arts  and  to  Michael  Angelo.  Paul  IV.  had  wished  to 
destroy  the  "  Last  Judgment,"  and  had  employed  Daniele  da  Volterra 
to  cover  the  figures  with  drapery.  It  seems  that  Michael  Angelo  was 
asked  to  d6  the  work,  and  had  answered  ironically,  "  That  is  soon 
done.  The  Pope  has  to  put  the  world  in  order  ;  it  is  but  a  small 
trouble  as  regards  pictures,  for  they  keep  still. "  When  in  his  eighty- 
sixth  year  he  wrote  a  letter  to  Cardinal  di  Carpi  which  proves  how 
little  his  mind  had  failed.  Soon  after,  the  committee  appointed  to 
inspect  the  building  dismissed  a  young  man  whom  he  had  employed. 
Upon  this  he  declared  that  he  would  visit  the  building  no  more.  That 
was  just  what  his  enemies  desired.  Nanni  Bigio  had  long  wanted 
his  position,  and  it  was  given  him.  At  first  Michael  Angelo  took  the 
matter  easily,  but  when  they  began  to  change  his  plans,  he  roused 
himself.  The  Pope  was  on  the  square  of  the  Capitol.  Michael 
Angelo  went  to  him  and  made  so  much  noise  that  they  were  obliged 
to  take  him  into  the  palace,  and  the  end  of  all  was  that  the  Pope 
issued  a  brief  decreeing  that  for  the  future  they  should  not  depart 
from  the  plans  of  Michael  Angelo  in  the  smallest  particular.  This 
does  not  seem  like  the  act  of  a  dying  man.  At  this  time,  too,  he 
made  plans  and  was  consulted  respecting  important  works  in  Florence. 
His  last  work  in  Rome  was  to  make  a  church  from  an  immense  hall 
in  the  baths  of  Diocletian.  A  year  before  his  death  Michael  Angelo 
was  appointed  to  the  honorary  directorship  of  the  Acad.  of  Arts  in 
Florence.  In  the  beginning  of  1564  it  was  apparent  that  his  end  was 
near,  and  on  the  18th  of  February  he  died,  in  the  ninetieth  year  of 
his  age.  He  had  desired  that  his  body  should  be  carried  to  Florence. 
Opposition  from  the  Romans  was  feared.  Funeral  services  were 
held  in  the  ch.  of  S.  Apostoli,  and  afterwards  the  coffin  was  con- 
veyed as  merchandise  out  of  the  gates.  It  arrived  in  Florence  on 
the  llth  of  March,  and  was  earned  privately  to  S.  Piero  Maggiore. 
The  following  day  was  Sunday.  The  Duke  seems  to  have  desired 
that  he  should  be  buried  silently.  Towards  evening  the  artists  as- 
sembled in  the  church,  the  body  was  covered  with  a  black  velvet  pall, 
embroidered  with  gold,  and  a  gold  crucifix  placed  upon  it.  A  pro- 
cession was  formed.  The  older  artists  carried  torches,  and  the 
younger  ones  took  the  bier  upon  their  shoulders,  and  proceeded  to 
Santa  Croce.  A  rumor  had  spread  through  Florence  of  what  was 
occurring,  and  a  great  multitude  quietly  followed  the  procession.  In 


164  BUONAROTTI. 

the  Sacristy  the  coffin  was  opened,  and  though  he  had  been  dead 
three  weeks  he  appeared  as  if  he  had  just  died.  The  crowd  became 
so  great  that  it  was  impossible  to  close  the  tomb.  But  it  was  night 
and  at  length  they  were  dispersed.  The  Duke  evidently  feared  that  a 
public  funeral  might  create  a  political  commotion ;  but  it  was  thirty 
years  since  he  had  left  Florence,  and  those  who  stood  around  him 
scarcely  remembered  his  connection  with  their  city.  In  July  magnifi- 
cent funeral  ceremonies  were  held.  The  ch.  of  S.  Lorenzo  was 
splendidly  decorated,  and  Varchi  delivered  the  oration.  His  nephew 
Leonardo  had  a  monument  erected  in  Santa  Croce,  and  the  Duke 
gave  the  marble.  In  the  same  church  are  the  monuments  of  Dante, 
Alfieri,  and  Macchiavelli.  In  the  court  of  the  Uffizi  his  statue  stands 
with  those  of  other  great  Florentines,  with  no  especial  prominence. 
His  house  in  the  Ghibelline  Street  still  remains,  but  his  paintings  and 
other  works  are  not  there  ;  they  are  in  the  possession  of  his  family. 
"  All  Italians  feel  that  he  occupies  the  third  place  by  the  side  of 
Dante  and  Raphael,  and  forms  with  them  a  triumvirate  of  the  greatest 
men  produced  by  their  country,  —  a  poet,  a  painter,  and  one  who 
was  great  in  all  arts.  Who  would  place  a  general  or  a  statesman  by 
their  side  as  equal  to  them  ?  It  is  art  alone  which  marks  the  prime 
of  nations." 

ENGRAVINGS    AFTER   THE   WORKS   OF    MICHAEL   ANGELO. 

Engraver,  ALBERTI,  Cherubino.  The  Crucifixion.  S.  Jerome 
meditating  on  the  Crucifix;  1575.  S.  Andrew  bearing  his  Cross; 
1580.  Two  Figures  from  the  Last  Judgment ;  1591.  Charon,  with 
two  other  Figures;  1575.  Prometheus  devoured  by  the  Vulture; 
1580.  The  famous  Pieta. 

Engraver,  BARTOLOZZI,  Francesco.  Prometheus  devoured  by 
the  Vulture. 

Engraver,  BEATRICI,  Niccolo.  The  Annunciation,  with  the 
names  of  Michael  Angelo  and  Beatrici.  The  Good  Samaritan  ; 
Michele  Angelo,  inv.  The  Mater  Dolorosa,  N.  B.;  Romas;  1547. 
The  Conversion  of  S.  Paul;  M.  Angelo,  pinx.,  etc.  ;  N.  B.  The 
Prophet  Jeremiah,  with  names  of  painter  and  engraver.  The  Last 
Judgment;  1562 ;  in  nine  sheets.  Ganymede,  inscribed,  Ganimedes 
fuvenis,  etc.  The  Fall  of  Phaethon.  Titius  devoured  by  a  Vulture; 
Ant.  Salamancha,  ex.  Silenus  carried  by  Children ;  N,  Beatrice,  fee. 

Engraver,  BONASONI,  Giulio.  The  Creation  of  Eve.  The  Last 
Judgment;  inscribed,  Julius  Bonasonius  Bonone  proprid  Michcelis 
Angeli,  etc.  Solomon,  David,  and  Jesse,  from  Sistine  Chapel;  Julio 
Bonasone  imitando,  etc.  The  Fall  of  Phaethon.  Three  Female 
Figures  with  Veils. 

Engraver,  CAPELLANI,  Antonio.  The  Creation  of  Eve;  from 
Sistine  Chapel.  Adam  and  Eve  driven  from  Paradise. 


BUONAROTTI  —  BUONI.  1 65 

Engraver,  CARACCI,  Agostino.  The  Pieta,  after  the  sculpture 
of  M.  Angelo. 

Engraver,  CAKAGLIO  or  CARALIUS,  Gio.  Giacomo.  The  Carry- 
ing up  of  Ganymede. 

Engraver,  CAVALLERIIS,  Gio.  Batista.  The  Virgin,  called  u  The 
Silence."  The  Dead  Christ  in  the  Lap  of  the  Virgin.  The  Con- 
version of  S.  Paul.  The  Martyrdom  of  S.  Peter. 

Engraver,  CORT,  Cornelius.     The  two  Tombs  of  the  Medici. 

Engraver,  CUNEGO,  Domenico.  Three  Subjects  from  the  Crea- 
tion; Sistine  Chapel,  engraved  for  the  Schola  Italica  of  G.  Ham- 
ilton. 

Engraver,  FULCARUS  or  FURCK,  Sebastian.     The  Last  Judgment. 

Engraver,  GHISI,  Giorgio.  The  Prophets  and  Sibyls  of  the  Sis- 
tine  Chapel;  six  large  plates.  The  Last  Judgment;  ten  large  plates. 

Engraver,  GHISI,  Adamo.  Dead  Christ  in  the  Lap  of  the  Virgin ; 
after  celebrated  sculpture  of  M.  Angelo;  1566. 

Engraver,  JODE,  Gerard  de.  The  Crucifixion;  a  large  print  in 
three  sheets,  marked,  G.  de  Jode. 

Engraver,  KARTARIUS,  Marius.     The  Last  Judgment. 

Engraver,  KILIAN,  Lucas.     The  Pieta. 

Engraver,  Musis,  Agostino  de,  called  Agostino  Veneziano. 
Hercules  strangling  Antaeus. 

Engraver,  PERAC,  ^tienne  du.  The  Last  Judgment.  The 
Capitol. 

Engraver,  POTRELLE,  Jean  Louis.     Portrait  of  Michael  Angelo. 

Engraver,  RAIMONDI,  Marc  Antonio.  The  Holy  Family,  in  the 
Sistine  Chapel.  Adam  and  Eve  driven  from  Paradise,  from  the 
Sistine  Chapel.  Hercules  strangling  Antaeus. 

Engraver,  SCHIAVONETTI,  Luigi.  The  Cartoon  representing  the 
Surprise  of  Soldiers  on  the  banks  of  the  Arno. 

Engraver,  SERICCUS,  So  YE  or  SYTIUS,  Philip.  The  Virgin  with 
the  infant  Christ  sleeping;  1566.  Philippus  Sericcus.  The  Cruci- 
fixion. A  Pieta. 

Engraver,  STEEN,  Francis  van  der.    Michael  Angelo's  Dream. 

Engraver,  Vico,  Vicus  or  VIGHI,  Enea.  Jupiter  and  Leda.  A 
Bacchanalian  subject. 

Kiif/raver,  ZUCCHERELLI  or  ZUCCARELLI,  Francesco.  Etching  of 
the  Statue  of  Victory,  after  the  Sculpture. 

Buoni,  Buono  de,  born  at  Naples;  died  1465.  One  of  the  best 
painters  of  his  time.  Some  of  his  works  are  still  in  the  churches  of 
Naples. 

Buoni,  Silvestro  de',  born  at  Naples  (1420-1480).  Son  and 
pupil  of  the  preceding.  He  afterwards  studied  under  Solario,  called 
Zingaro.  Buoni  was  an  attractive  painter.  His  pictures  are  in  the 
Mus.  and  churches  of  Naples.  The  best,  which  is  a  very  interesting 
work,  is  in  the  old  basilica  of  S.  Restituta.  It  represents  that  saint 


166  BUONI  -  CABEZALERO. 

with  the  Virgin  and  the  Archangel  Michael.  A  warm,  beautiful 
tone  pervades  the  whole;  the  figures  are  dignified  and  not  mannered; 
it  seems  to  unite  the  style  of  the  Umbrian  with  the  animated  cheer- 
fulness of  the  Venetian  school. 

Burghers,  Michael.  A  Dutch  engraver  who  settled  at 
Oxford  after  the  taking  of  Utrecht  by  Louis  XIV.  Al- 
though his  plates  were  not  especially  good,  he  is  esteemed 
for  having  preserved  many  remains  of  antiquity  which  would  other- 
wise have  been  lost. 

Burgkmair,  Thoman.  Kugler  says  the  family  of  this  name 
are  next  important  to  the  Holbeins  in  the  history  of  art  in  Augs- 
burg, where  some  of  Burgkmair 's  works  still  remain  in  the  Cath.  and 
Gall.  The  former  were  presented  in  1480.  He  is  inferior  to  the 
Holbeins. 

Burgkmair,  Hans,  born  at  Augsburg  (1473-1559). 
Son  of  the  preceding,  and  in  his  day  the  most  im- 
Portant  artist  of  Augsburg.  He  was  realistic,  and 
succeeded  in  actual  representations  of  common  life 
and  portraits,  and  yet  was  not  without  feeling  for  beauty.  He  had 
great  versatility  of  talent;  he  painted  religious  subjects,  and  knightly 
or  courtly  representations  in  addition  to  the  subjects  before  men- 
tioned. He  also  made  many  designs  for  wood-cuts,  which  are  full  of 
spirit.  He  imitated  no  one  master,  but  rather  formed  a  style  of  his 
own.  Many  of  his  works  remain  and  are  in  Augsburg,  Dresden 
Gall.,  Nuremburg,  Munich,  Vienna,  etc.  He  had  two  distinct 
periods;  the  first  extended  to  1508,  and  in  it  he  was  German  en- 
tirely ;  later,  his  tendency  is  to  the  Italian  order,  and  is  characterized 
by  fuller  forms,  changed  draperies,  and  more  delicacy  of  treatment. 
That  he  painted  landscapes  well  may  be  seen  in  No.  65,  Munich 
Gall,  a  "  S.  John  at  Patmos." 

Byzes  of  Naxos,  invented  the  cutting  of  marble  tiles  about  the 
50th  Olympiad,  or  580  B.  c. 

c. 

Cabel  or  Kabel,  Adrian  van  der,  born  at  Ryswick,  1631 ;  died  at 
Lyons,  1695.  Pupil  of  Van  Goyen,  whom  he  left  with  the  intention 
of  visiting  Italy.  When  he  reached  Lyons  his  works  were  so  much 
admired,  that  it  is  said  he  remained  there  until  his  death.  But  we 
are  also  told  that  the  associated  painters  at  Rome  called  him 
Corydon  and  Geestiykeit,  which  would  prove  that  he  studied  there. 
He  painted  landscapes  with  cattle  and  figures,  and  seaports.  Some 
of  these  were  fine,  but  his  habits  were  irregular,  and  his  pictures 
consequently  very  unequal. 

Cabezalero,  Juan  Martin  de,  born  near  Cordova  (1633-1673). 
Pupil  of  Don  Juan  Carreno.  He  had  great  reputation  as  a  painter 
of  history.  His  principal  works  are  in  the  churches  of  Madrid. 


CACCIA  —  CAGLIARL  1 67 

Caccia,  Guglielmo,  born  at  Montabone  (1568-1625).  Called  H 
Moncalvo,  from  his  long  residence  in  that  place.  He  painted  in 
fresco  and  oil.  His  coloring  was  gay,  his  style  of  form  taken  from 
Raphael;  he  especially  studied  his  landscape  backgrounds.  The 
Chiesa  de'  Conventuali,  at  Moncalvo,  has  a  full  coll.  of  his  works. 
They  were  also  known  and  prized  in  Milan,  Pavia,  Turin,  Novara, 
and  other  cities.  He  had  five  daughters,  two  of  whom  were  painters, 
Ursula  and  Francesca.  The  works  of  the  latter  were  mistaken  for 
those  of  her  father.  He  or  the  daughter  Ursula  founded  a  convent, 
into  which  the  sisters  retired.  In  this  convent  there  are  many 
pictures  by  Ursula,  who  died  in  1678.  Francesca  died  when  fifty- 
seven,  but  the  year  is  not  known. 

Caccinoli,  Gio.  Batista,  born  at  Castle  Budrio  (16357-1675). 
Pupil  of  Domcnico  Maria  Canuti.  A  painter  of  history  of  good 
reputation.  Many  of  his  works  were  for  the  churches  of  Bologna. 

Caffa,  Melchiore,  born  at  Malta,  1631;  died  at  Rome,  1687. 
Studied  under  Bernini,  and  is  said  by  some  to  have  equalled  his 
master.  He  executed  various  works  for  the  Roman  churches.  The 
most  esteemed  is  a  marble  group  of  "  S.  Thomas  distributing  Alms," 
in  the  Chapel  of  S.  Agostino. 

Caffieri,  Filippo,  born  at  Rome  (1634-1716).  His  family  were 
from  Naples,  and  were  allied  with  many  noble  houses  of  Italy. 
Caffieri  went  to  Paris,  at  the  request  of  Card.  Mazarin,  in  1660.  He 
was  employed  in  works  for  the  royal  palaces,  and  Colbert  gave  him 
apartments  at  the  Gobelins.  He  was  afterwards  made  sculptor 
and  naval-architect  to  the  king,  and  inspector  of  the  marine  at  Dun- 
kirk. 

Caffieri,  Jacques  (1678-1755).  Son  of  the  preceding.  His  best 
works  were  busts  in  bronze. 

Caffieri,  Jean  Jacques  (1723-1792).  Son  of  the  preceding, 
whom  he  much  excelled.  He  executed  many  fine  works.  Among 
his  larger  ones  may  be  mentioned  a  group  of  "Melpomene  and 
Thalia,"  and  a  S.  Silvia  at  the  Invalides.  His  busts  were  better 
than  his  statues.  Those  of  Corneille  and  Piron,  at  the  Theatre 
Fra^ais,  are  by  him. 

Cagliari  or  Caliari,  Paolo,  called  Paul  Veronese,  born  at  Verona 
(1528-1588).  Son  of  a  sculptor,  and  pupil  of  Antonio  Badile, 
his  uncle,  and  a  reputable  painter.  He  lived  mostly  in  Venice, 
and  imitated  Titian  in  color.  He  did  not  equal  the  latter  in 
the  perfection  of  his  flesh  tones,  but  that  which  particularly  dis- 
tinguished him  was  the  vitality  and  poetic  feeling  which  he  infused 
into  his  works.  His  gorgeous  draperies,  grand  architecture,  splendid 
vases  and  ornaments,  varied  costumes,  and  the  representation  of 
imposing  scones  rendered  his  works  most  effective  and  masterly. 
Even  his  religious  pictures  have  all  these  features,  and  are  admirable 
scenes  of  earthly  pageantry.  Some  of  his  more  serious  subjects, 


168 


CAGLIARI. 


however,  are  thrilling  in  their  deep  feeling  and  expression.  Magnifi- 
cent effect  seems  to  have  been  his  chief  aim,  and  this  was  attained 
by  representing  crowds  of  figures  gorgeously  attired,  apparently  in 
full  enjoyment  of  happy  prosperity.  His  pictures  appeal  to  the 
senses  more  than  the  spirit,  and  his  costumes  are  often  indecent. 
Few  of  his  early  works  are  known.  The  ch.  of  S.  Sebastiano,  in 
Venice,  where  the  master  is  buried,  is  rich  in  his  works;  there  are 
almost  innumerable  pictures  by  him  on  its  walls  and  altars;  of  these 
three  are  very  large  and  represent  scenes  connected  with  the  Mar- 
tyrdom of  S.  Sebastian.  In  the  Louvre  is  the  colossal  "  Marriage  at 
Cana."  This  is  30x20  feet  in  size,  and  among  its  many  faces  are 


the  portraits  of  the  artist  and  other  prominent  persons.     Another 
large  work  in  the  Louvre  is  the  "  Magdalen  washing  the  Feet  of 


CAaLIARI.  169 

Christ."  The  "  Feast  of  the  Levite,"  in  the  Acad.  at  Venice,  is 
also  large  and  rich  in  color,  but  less  excellent  than  the  others.  In 
the  Gall,  at  Dresden  is  the  "  Adoration  of  the  Kings,"  which  is 
extremely  beautiful.  The  Holy  Family  are  arranged  on  one  side, 
while  on  the  other,  the  kings,  arrayed  with  purple  and  gold,  adoringly 
worship  the  Divine  Child.  The  harmonious  coloring,  the  noble  life, 
and  dignity  of  the  figures,  and  the  whole  arrangement  of  the  compo- 
sition, render  it  a  masterpiece.  Veronese  decorated  the  Pal.  of  the 
Doge  with  many  mythological  and  allegorical  designs.  He  left  a 
great  number  of  works.  Many  of  them  are  in  the  Louvre,  Brera, 
Dresden,  and  other  European  galleries,  and  the  National  Gall,  has  four 
of  his  pictures.  His  portraits  were  of  high  merit.  He  left  two  etch- 
ings ;  they  are  slight,  but  masterly,  and  represent,  — 

The  Adoration  of  the  Magi :  Paolo  Veronese,  fee. 

Two  Saints  sleeping  ;  no  mark. 

Liibke  says,  "  He  entered,  indeed,  upon  Titian's  heritage,  and  by 
his  grand  creative  power  and  noble  beauty  upheld  the  banner  of  Ve- 
netian art,  until  the  end  of  the  century."  Wornum  remarks,  "  Paolo 
Veronese  was  the  real  master  of  Rubens.  His  works,  however,  have 
their  defects:  he  was,  as  Algarotti  observes,  careless  in  design,  and 
in  costume  extremely  licentious  ;  but  these  faults  are  completely  con- 
cealed by  the  absorbing  magnificence  of  his  coloring,  which,  added 
to  his  noble  fancy  and  inexhaustible  invention,  render  his  defects  as  a 
grain  of  sand  in  the  balance."  His  son  Carlo  was  his  pupil,  and 
seemed  to  have  inherited  his  talents,  but  died  when  twenty-six  years 
old,  in  1596. 

ENGRAVINGS  AFTER  PAOLO  VERONESE. 

Engraver,  AUBIN,  Augustin  de  St.    Jupiter  and  Leda. 

Engraver,  AUDI:  AN,  Px-noii.  the  younger.     Pilgrims  of  Emmaus. 

Emjraver,  BARTOLOZZI,  Francesco.  The  Judgment  of  Solomon ; 
after  a  drawing. 

Engraver,  BEAUVARLET,  Jacques  Firmin.  Venus  lamenting 
Adonis. 

Engraver,  BLOEMAERT,  Cornelius.     The  Resurrection. 

Engraver,  BREBIETTE,  Pierre.     The  Martyrdom  of  S.  George. 

Engraver,  CARACCI,  Agostino.  Holy  Family  with  SS.  Anthony 
and  Catherine.  The  Virgin  taking  two  Monks  under  her  protection. 
The  Marriage  of  S.  Catharine.  The  Crucifixion.  Christ's  Body, 
supported  by  the  Virgin  and  an  Angel.  Martyrdom  of  S.  Justina  ; 
two  sheets. 

Engraver,  COLEMANS,  Jacob.  A  Poet  conjuring  up  Fortune. 
Portrait  of  P.  Veronese. 

Engraver,  DESPLACKS,  Louis.     La  Sagesse  Compagne  d'Hercule. 

Engraver,  DUCHANGE,  Gaspar.     The  Entombment  ;  fine. 


170  CAGLIARI. 

Engraver,  DUFLOS,  Claude.     Christ  and  the  Disciples  at  Emmaus, 

Engraver,  DUPUIS,  Nicholas  Gabriel.     Adoration  of  the  Magi. 

Engraver,  GOLTZ  or  GOLTZIUS,  Heinrich.  The  Last  Supper, 
1585. 

Engraver,  GROENSVELT,  John.  Adoration  of  the  Magi;  J.  Groens- 
vdt,  fee. 

Engraver,  HANSFTANGL,  Franz.  Susanna.  Adoration  of  the 
Magi.  Marriage  at  Cana.  Christ  bearing  the  Cross.  The  Concina 
Family  before  the  Madonna. 

Engraver,  HENRIQUEZ,  Benoit  Louis.     Finding  of  Moses. 

Engraver,  HONECK.     The  Presentation  in  the  Temple. 

Engraver,  HOUBRAKEN,  Jacob.     Portrait  of  Daniello  Barbaro. 

Engraver,  JACKSON,  John  Baptist.  The  Presentation  in  the  Tem- 
ple. Marriage  of  S.  Catherine. 

Engraver,  JACOB,  Louis.     Rebecca  and  Eliezer. 

Engraver,  JEAURAT,  Edme.     Finding  of  Moses;  fine. 

Engraver,  JOUILLON,  Francois.  Apollo  and  Marsyas.  Mercury 
turning  Aglauros  to  stone. 

Engraver,  KILIAN,  Lucas.     The  Resurrection. 

Engraver,  KILIAN,  Wolfgang.     Baptism  of  Christ. 

Engraver,  KILIAN,  Philip  Andrew.     Adoration  of  the  Magi. 

Engraver,  LASNE,  Michel.  Christ  in  Glory,  with  SS.  Peter  and 
Paul. 

Engraver,  LORENZINI,  Fra  Antonio.  The  Annunciation.  Bap- 
tism of  Christ.  Raising  of  Lazarus. 

Engraver,  MANNL  or  MAENNL,  Jacob.  Judith  leaving  the  Tent 
of  Ilolofernes.  Child  holding  a  Dog. 

Engraver,  MATHAM,  James.     Visitation  of  the  Virgin. 

Engraver,  MATHAM,  Theodorus.  Marriage  of  S.  Catherine,  S. 
John  presenting  the  Ring. 

Engraver,  MITELLI,  Giuseppe  Maria.    The  Rich  Man  and  Lazarus. 

Engraver,  MOYREAU,  Jean.     Rebecca  and  Eliezer. 

Engraver,  PIZZI,  Luigi.     The  Feast  at  the  House  of  Simon. 

Engraver,  PREISLER,  Johann  Martin.     Christ  bearing  his  Cross. 

Engraver,  PREVOST,  Zacharias.  Marriage  at  Cana.  The  Feast  in 
the  House  of  Simon. 

Engraver,  RAINALDI,  Francesco.     The  Rape  of  Europa. 

Engraver,  RAVENET,  Simon  Frai^ois.     Venus  and  Adonis. 

Engraver,  SAENREDAM,  Jan.     The  Feast  at  the  House  of  Simon. 

Engraver,  SAITER,  Gottfried.     Marriage  at  Cana. 

Engraver,  SCOTTO,  GIROLAMO.     Feast  at  the  House  of  Simon. 

Engraver,  TERWESTEN,  Augustin,  the  Elder.     Finding  of  Moses. 

Engraver,  THOMASSIN,  Henry  Simon.  Christ  and  the  Disciples 
at  Emmaus. 

Engraver,  VANNI,  Gio.  Battista.     Marriage  at  Cana. 

Engraver,  VENDRAMINI,  Gio.     Vision  of  S.  Catherine. 


CAGLIARI  —  CALDARA.  171 

Engraver,  VILLAMENA,  Francesco.  Presentation  in  the  Temple  ; 
tfiis  plate  was  commenced  by  Agostino  Carracci  ;  it  is  rare. 

Engraver,  VISSCHER,  Cornelius.     The  Ascension. 

Engraver,  VOLPATO,  Gio.     The  Feast  in  the  House  of  Simon. 

Engraver,  VORSTERMAN,  Lucas.     S.  Helena  seeing  the  Cross. 

Engraver,  WAGNER,  Joseph.  Enthroned  Madonna  with  infant 
S.  John  and  other  saints. 

Engraver,  ZUCCHI,  Andrea.     S.  John  the  Baptist. 

Cagnacci,  Guido,  born  at  Castel  Durante  (1600-1680).  Pupil  of 
Guido  Reni.  He  merits  honorable  mention  among  Bolognese  artists. 
He  avoided  all  hardness,  and  so  blended  his  tints  as  to  soften  and 
round  the  limbs  of  his  figures.  The  Emperor  Leopold  T.  was  his 
patron,  and  he  spent  much  time  at  Vienna.  His  works  arc  better 
known  in  Germany  than  in  Italy. 

Cairo,  Cavaliere  Francesco  (1598-1674).  Pupil  of  Morazzone, 
he  became  enamored  of  Venetian  coloring,  and  studied  the  works  of 
Titian  and  Paul  Veronese.  The  result  was  an  admirable  style.  One 
of  his  best  Avorks  is  the  S.  Theresa  in  S.  Carlo  in  Venice.  His  pic- 
tures are  also  at  Milan  and  Turin. 

Calabrese.     See  Preti. 

Calabrese.     See  Cardisco. 

Calaiidra,  Gio.  Batista.  One  of  the  first  mosaists  who  wrought 
in  the  Vatican.  On  account  of  the  injury  to  oil  paintings  in  S. 
Peter's,  resulting  from  dampness,  it  was  determined  during  the  reign 
of  Urban  VIII.  to  replace  them  by  copies  in  mosaic.  The  first  altar- 
piece  was  a  S.  Michael  after  Cesare  d'Arpino,  executed  l>\  Calandra. 

Calcar,  Hans  Von.  Heal  name,  Hans  Stephanus  (1510-1546). 
Of  the  Italian  School  of  painting.  In  1536-37  he  resided  in  Ven- 
ice, and  studied  under  Titian,  whom  he  so  imitated  that  it  is 
sometimes  difficult  to  distinguish  their  respective  works.  No  histori- 
cal work  known  to  be  his  remains.  His  portraits  are  fine  and  ran-. 
Berlin  Mus.  No.  190;  a  man  with  a  letter  in  his  hand,  at  Vienna; 
and  one  in  the  Louvre,  which  has  been  ascribed  to  both  Paris  Bor- 
donc  and  Tintoretto. 

Caldara,  Polidoro,  called  Caravaggio  from  his  birthplace  (1495- 
1543).  This  painter  began  life  as  a  mason  and  was  employed  at  the 
Vatican,  where,  in  1512,  lie  became  acquainted  with  Matturino,  of 
Florence,  who  instructed  him  in  drawing  and  made  him  his  assistant 
in  the  decorative  works  in  which  he  was  employed.  Together  they 
executed  fresco  chiaro-scuri  which  were  much  praised,  even  by  Ra- 
phael. These  are  known  now  only  by  the  engravings  from  them  by 
Cherubino  Alberti,  Galestruzzi,  and  others.  In  1527,  the  sack  of 
Rome  interrupted  their  work,  and  the  two  painters  were  separated. 
Polidoro  went  to  Naples,  and  from  there  to  Messina,  where  he  es- 
tablished a  good  reputation  as  an  artist.  In  1543,  having  made  a 
comfortable  fortune,  he  prepared  to  return  to  Rome,  but  was  mur- 


172  CALDARA  —  CALLET. 

dered  by  his  servant  for  his  money.  His  body  was  placed  on  the 
steps  of  the  house  of  a  lady  he  had  often  visited.  The  servant  was 
suspected  and  made  to  confess  by  means  of  the  torture.  His  princi- 
pal work  was  done  at  Messina,  and  represented  "  Christ  bearing  his 
Cross."  This  with  several  small  pictures  of  sacred  subjects  is  now  in 
the  Studj  Gall.,  at  Naples.  His  works  have  power,  life,  and  passion, 
and  he  may  be  said  to  have  originated  the  style  which  in  later  time 
formed  the  basis  of  the  Neapolitan  school. 

Calendario,  Filippo.  Flourished  at  Venice  about  1334.  His  prin- 
cipal work  was  executed  for  the  Republic,  and  consists  of  the  Por- 
ticos surrounding  the  Square  of  S.  Mark.  He  was  largely  rewarded 
by  the  state,  and  the  Doge  gave  him  one  of  his  daughters  in  marriage. 
He  did  other  good  works  in  Venice,  but  was  at  last  executed  as  a 
conspirator. 

Calense,  Cesare.  Flourished  about  1590.  He  attained  a  reputa- 
ble rank  as  a  painter.  His  knowledge  of  chiaro-scuro  was  good,  and 
his  style  graceful.  In  the  ch.  of  S.  John  Baptist,  at  Naples,  is  a  "  De- 
scent from  the  Cross  "  by  this  artist,  which  is  fine. 

Caletti,  Giuseppe,  called  Cremonese,  born  at  Ferrara  (1600  ?- 
1660).  An  imitator  of  Titian.  He  spoiled  his  pictures  by  inappro- 
priate arrangements  of  design.  Lanzi  says,  ' '  He  placed  wild  boars  in 
the  sea,  and  dolphins  in  the  forests."  Two  of  his  best  works  are  in 
the  ch.  of  S.  Benedetto  at  Ferrara. 

Call,  John  Van,  born  at  Nimeguen  (1655-1703).  After  copying 
the  works  of  some  of  the  best  artists  of  his  own  country,  he  went  to 
Rome,  where  he  made  a  large  collection  of  drawings  of  all  the  most 
picturesque  views  of  the  country  surrounding  that  city.  He  settled 
at  length  at  the  Hague,  where  he  died.  His  drawings  are  more  prized 
than  his  pictures,  and  bring  large  prices  in  Holland,  where  they  are 
placed  in  the  best  collections. 

Callcott,  Sir  Augustus  Wall,  born  at  Kensington  (1779-1844). 
A  pupil  of  Hoppner,  he  at  first  practised  portrait  painting,  but  later 
devoted  himself  to  landscapes.  He  has  been  called  the  English 
Claude.  In  1837  he  exhibited  a  picture  of  "  Raphael  and  the  Forna- 
rina,"  which  was  quite  out  of  his  usual  style.  "Milton  and  his 
Daughters"  followed  in  1840.  The  Queen  conferred  knighthood 
upon  him  in  1837,  and  in  1844  he  was  appointed  Conservator  of  the 
Royal  Pictures. 

Calleja,  Andres  de  la,  born  at  Rioja  (1705-1782).  A  Spanish 
painter  of  good  reputation.  His  best  works  are  in  the  churches  of  S. 
Philippe  le  Royal,  S.  Croix,  the  Treasury  chapel,  and  the  convent  of 
S.  Francis. 

Callet,  Antoine  Francois  (1741-1823).  One  of  the  best 
French  painters  of  his  time.  In  the  Louvre,  there  is  a  large  repre- 
sentation of  the  "Four  Seasons"  executed  by  him  for  Louis  XVI., 
and  intended  to  be  worked  in  Gobelin  tapestry.  Part  of  the  ceiling 


CALLET  —  CALVART.  17'6 

of  the  Gall,  of  Apollo  in  the  Louvre,  and  that  of  the  Luxembourg, 
were  by  him.  He  also  painted  portraits  of  Louis  XVI.,  Louis  XVIII. 
and  Count  d'Artois. 

Callimachus.  A  Greek  sculptor  said  to  have  invented  the 
Corinthian  capital.  The  story  is  that  about  550  B.  c.  a  virgin  died 
at  Corinth,  and  her  nurse,  according  to  custom,  placed  a  basket  on 
her  grave  containing  the  viands  that  she  loved  best.  It  happened 
that  the  basket  was  placed  upon  an  acanthus,  the  leaves  of  which 
grew  up  about  it  with  so  much  grace  as  to  attract  the  attention  of 
Callimachus,  and  suggest  to  him  that  design  which  has  been  for  cen- 
turies a  prominent  beauty  in  architecture.  Pausanias  describes  a 
golden  lamp  which  he  made  for  the  service  of  Athens,  which  would 
burn  exactly  a  year  without  going  out.  He  is  also  called  the  inventor 
of  the  art  of  boring  marble,  but  it  is  believed  that  he  perfected  it 
only,  as  it  must  have  been  known  before  his  time.  His  fault  was 
that  he  could  never  be  satisfied  with  his  works,  and  elaborated  them 
until  he  spoiled  them.  On  account  of  this  he  was  called  Kanc&Texvoc. 

T  Callot,  Jacques,  born  at  Nancy  (1593-1635). 

1  muC^lt-  fee.  An  eminent  designer  and  engraver.  He  was  of  a 
"  noble  family  from  which  he  met  great  opposition 
in  his  pursuit  of  art.  Twice  he  ran  away  in  order  to  study.  At 
length  he  was  allowed  to  go  to  Rome  in  the  suite  of  the  envoy  sent  to 
the  Pope  by  the  Duke  of  Lorraine.  He  speedily  arrived  at  eminence 
in  his  profession.  He  did  not  succeed  with  the  graver,  and  confined 
himself  to  the  use  of  the  point.  Louis  XIII.  employed  Callot  to 
engrave  the  principal  battles  and  sieges  of  the  French.  Richelieu 
desired  him  to  engrave  the  siege  of  Nancy,  but  Callot  declared 
he  would  sooner  cut  off  his  right  hand,  than  thus  to  record  the  calam- 
ity and  disgrace  of  his  prince  and  country.  His  prints  number  more 
than  1500.  His  drawings  are  much  prized.  His  plates  with  small 
figures  are  the  best.  He  often  made  several  drawings  of  the  same 
subject  before  he  satisfied  himself.  Watelet  had  seen  four  different 
sketches  for  his  celebrated  "  Temptation  of  S.  Anthony."  A  com- 
plete list  of  his  works  is  given  in  M.  Heineken's  "  Dictionnaire  des 
Artistes." 

Calvart,  Denis,  born  at  Antwerp  (1555-1619).  From  the  as- 
sociations of  his  life  he  may  be  considered  as  an  Italian  painter. 
He  was  one  of  those  who,  at  Bologna,  turned  the  attention  of  artists 
to  landscape  painting.  He  founded  in  that  city  the  celebrated  school 
in  which  Albano,  Domenichino,  and  Guido  studied.  His  excellence 
was  such  that  he  may  be  regarded  as  the  restorer  of  the  Bolognese 
school,  especially  in  color.  His  designs  had  many  faults,  were 
mannered,  and  his  figures  sometimes  indecorous.  He  was  of  a  turbu- 
lent and  fiery  disposition  and  temperament.  He  was,  however,  a 
most  earnest  and  devoted  teacher.  His  pictures  may  be  seen  in  the 
churches  of  Bologna.  He  inscribed  his  name  sometimes  as  DIONISIO 
CALVAERT,  DE  ANTVERSA. 


174  CAMASSEI  —  CAMPAGNOLA. 

Camassei,  Andrea  (1601-1648).  Pupil  of  Domenichino  and 
Andrea  Sacchi.  His  works  may  be  seen  in  many  public  edifices  at 
Rome:  "Triumph  of  Constantine,"  Baptistery  of  the  Lateran  ; 
"  Assumption  of  the  Virgin  "  in  the  Rotonda,  and  a  "  Pieta  "  at  the 
Cappucini. 

Cambiaso,  Luca,  called  also  Luchetto  da  Genova,  born  near 
Genoa  (1527-1585).  Pupil  of  his  father,  Giovanni,  whom  he  soon 
surpassed.  He  painted  both  in  oil  and  fresco,  and  it  is  said  that  his 
impetuosity  was  so  great  that  he  sometimes  executed  his  works  with- 
out cartoon  or  sketch  of  any  kind.  His  drawings  are  much  esteemed. 
He  was  fruitful  in  invention  and  there  is  novelty  in  his  designs.  His 
Cupids  and  infant  angels  are  boldly  outlined,  and  suggest  the  study 
of  Michael  Angelo.  His  color  is  sometimes  brilliant,  but  too  fre- 
quently brown  and  dull.  Some  of  his  best  works  are  in  Genoa  and 
that  vicinity.  His  fame  reached  Spain,  and  Philip  II.  invited  him 
to  Madrid,  where  he  went  with  his  son  Orazio  in  1583.  He  was 
employed  in  the  Escorial  and  received  12,000  ducats  for  his  fresco  of 
"  Paradise  "  on  the  ceiling  of  the  choir  of  S.  Lorenzo.  Probably  this 
was  the  largest  sum  that  had  then  been  paid  for  any  modern  work  of 
art.  After  the  death  of  Luca,  Philip  continued  to  employ  Orazio, 
and  settled  a  liberal  pension  on  him. 

Cambio.     See  Arnolfo. 

Camerata,  Giuseppe,  born  at  Venice  (17247-1803).  An  en- 
graver and  painter  in  miniature  who  was  invited  to  Dresden,  where 
he  assisted  in  engraving  the  plates  for  the  Gall.,  and  was  made  en- 
graver to  the  court. 

Camilo,  Francisco,  born  at  Madrid,  of  an  Italian  family ;  died  1671. 
Palomino  praises  him  immoderately.  He  was  the  scholar  of  Pedro  de 
las  Cuevas.  His  works  may  be  seen  in  various  Spanish  cities.  His 
most  celebrated  one  is  his  "  Nuestra  Senora  de  Belen  "  in  the  ch.  of 
S.  Juan  de  Dios  at  Madrid. 

Campagnola,  Giulo.  A  Paduan  who  flourished  about  1500.  He 
is  most  entitled  to  notice  as  an  engraver,  and  there  has  been  much 
discussion  concerning  him.  Some  of  his  plates  are  peculiarly  done. 
The  background  is  expressed  by  dots,  and  the  figures,  strongly  out- 
lined, are  finished  by  dots  within.  These  plates  prove  this  style  not 
modern,  as  it  is  generally  supposed  to  be. 

Campagnola,  Domenico.     Son  of  the  preceding.     A 

-*     Vp     pupil  of  Titian,  he   aroused  the  jealousy  of  that  mas- 

GA  *•  ter.  His  frescoes  in  the  Scuola  del  Santo,  and  his  oil 
pictures  in  S.  M.  del  Parto  established  his  right  to  good  consideration. 
His  more  important  works  are  at  Padua;  there  are  four  Prophets, 
half  figures,  in  the  Acad.  at  Venice.  He  holds  high  rank  as  an  en- 
graver, and  his  etchings  and  wood-cuts,  mostly  from  his  own  designs, 
are  executed  with  a  spirit  and  style  which  show  the  power  of  a 
master  hand. 


CAMPALASTRO  —  CANAL.  175 

Campalastro,  Ludovico,  born  at  Ferrara.  His  best  works  are 
in  the  churches  of  that  city. 

Campanna,  Pedro,  born  at  Brussels  (1503-1570).  Went  when 
very  young  to  Italy,  where  he  gained  a  good  reputation,  and  in  1530 
was  invited  to  Spain  by  Charles  V.  His  principal  works  are  at 
Seville. 

Camphuysen,  Theodore  Raphael,  born  at  Gorcum  (1586- 
1626?).  Pupil  of  Dietric  Govertze.  An  imitator  of  Paul  Potter. 
The  facts  of  his  life  are  not  known,  and  are  variously  stated  by  differ- 
ent authors.  According  to  Smith,  No.  527,  Cassel  Gall.,  represent- 
ing cattle  life  size,  is  by  Camphuysen. 

Campi,  Galeazzo.  A  Cremonese  of  little  reputation,  who  flourished 
in  the  early  part  of  the  16th  century,  and  whose  best  work  is  his  own 
portrait  in  the  Florence  Gall. 

Campi,  Giulio,  born  at  Cremona  (1500-1572).  Son  of  the  pre- 
ceding. Head  of  the  Eclectic  school  at  Cremona.  He  attempted  to 
unite  the  excellences  of  the  Roman  and  more  northern  schools,  and 
has  been  called  the  Ludovico  Caracci  of  Cremona,  although  his 
reform  must  have  preceded  that  of  Ludovico.  He  admired  Raphael, 
Titian,  and  Giorgione.  His  best  works  are  in  Cremona,  Milan, 
and  Mantua. 

Campi,  Antonio,  born  at  Cremona.  Flourished  about  1586. 
Brother  and  pupil  of  Giulio.  He  excelled  most  as  an  architect.  His 
pictures  were  mannered.  His  best  one  is  that  of  "  S.  Paul  resusci- 
tating Eutychus,"  which  was  engraved  by  Agostino  Caracci. 

Campi,  Vincenzo,  died  1591.  Also  brother  of  Giulio,  and  in- 
structed by  him.  His  best  pictures  were  those  of  still-life,  but  he  was 
much  inferior  to  his  brothers. 

Campi,  Bernardino,  born  at  Cremona  (1522-1592).  Also 
brother  of  Giulio,  and  the  greatest  of  the  Campi.  After  studying 
under  Giulio,  and  at  Mantua,  he  went  to  Parma  and  Modena  to  study 
the  manner  of  Correggio.  Returning  to  Cremona  he  executed  im- 
portant works,  the  best  of  which  are  in  the  ch.  of  S.  Gismondi.  In 
the  cupola  he  painted  an  immense  representation  of  the  "  Blessed  of 
the  Old  and  New  Testaments."  The  figures  are  seven  braccia 
high  and  are  very  numerous,  each  one  being  distinguished  by  an 
appropriate  symbol.  He  completed  this  great  work  in  seven  months. 
The  Campi  were  the  best  Cremonese  artists  of  their  time,  but  they 
were  extremely  mechanical  in  their  style. 

Canachus.  A  sculptor  of  Sicyon.  Lived  probably  at  the  begin- 
ning of  the  5th  century  B.  c.  He  excelled  more  in  technicalities  and 
in  the  excellence  of  the  separate  parts  of  his  works  than  in  the  grace 
and  beauty  of  the  whole.  One  of  his  most  important  works  was  a 
colossal  brazen  "  Apollo  "  at  Miletus.  Of  this  we  have  copies  in  a 
statuette  in  the  British  Mus.,  and  on  Milesian  coins. 

Canal  or  Canale,  Antonio,  called   Canaletto,   born    in  Venice, 


176  CANAL  — CANO. 

(1697-1768).  A  pupil  of  his  father,  who  was  a  scene  painter.  He 
went  early  to  Rome,  where  he  assiduously  studied  the  ruins  of  the 
ancient  city.  Returning  to  Venice,  he  astonished  his  countrymen  by 
his  magnificent  views  of  the  palaces  and  edifices  of  their  city,  and  by 
his  representations  of  festivals  and  carnival  scenes,  in  some  of  which 
there  are  at  least  200  figures.  He  went  twice  to  England,  where  he 
was  much  patronized.  His  interior  views  were  fine.  His  coloring 
in  the  latter  was  not  brilliant,  and  in  his  Venetian  pictures  it  is  the 
gondolas  with  their  gold  and  gay  decorations  which  give  the  glare  to 
the  scene,  his  figures  being  often  in  neutral  tints.  He  acquired 
a  fortune.  His  works  are  very  numerous  and  are  in  almost  every 
collection.  Some  of  his  followers  imitated  him  so  closely  that  their 
works  are  sometimes  mistaken  for  .his  own,  and,  indeed,  there  are 
large  numbers  of  pictures  similar  to  those  of  Canaletto. 

Candido.     See  Witte. 

Caiio,  Alonso,  born  at  Granada  (1601-1667).  Architect,  sculptor, 
and  painter.  He  studied  painting  under  Pacheco,  Castillo,  and  the 
elder  Herrera  ;  and  sculpture  with  Martinez  Montanes.  His  talents 
and  versatile  genius  secured  him  a  high  place  among  artists ;  and  his 
temper  was  such  as  led  him  to  defend  his  rights  against  all  new- 
comers. In  1637  he  fought  a  duel,  and  escaped  Madrid;  and  in  1644 
his  wife  was  found  murdered  in  her  bed.  Cano  was  suspected  of  the 
crime,  and,  although  he  fled,  was  at  length  apprehended  and  put  to 
the  torture.  He  made  no  confession,  and  was  released,  judicially  in- 
nocent. He  still  retained  his  place  as  painter  of  the  king,  and  draw- 
ing-master to  Don  Carlos;  and  was,  from  time  to  time,  employed  on 
important  works.  He  determined  to  remove  to  Granada  and  take 
priest's  orders.  Philip  IV.  appointed  him  to  a  canonry.  He  was 
still  employed  as  painter  and  sculptor  by  private  persons  and  religious 
bodies,  and  even  went  to  Malaga  to  superintend  improvements  in  the 
Cathedral.  On  account  of  his  fierce  temper  he  was  deprived  of  his 
office  by  the  chapter,  and  was  obliged  to  repair  to  the  king  in  order 
to  be  reinstated.  This  occurred  in  1659,  and  so  offended  him  that 
he  would  no  more  use  his  pencil  or  chisel  in  the  service  of  the  Cath. 
at  Granada.  He  devoted  the  remainder  of  his  life  to  religious  and 
charitable  works,  and  gave  away  his  money  as  soon  as  received.  His 
purse  being  often  empty,  he  was  accustomed  to  go  into  a  shop  and 
beg  a  pen  and  paper.  He  would  then  sketch  a  head,  or  an  architect- 
ural design,  and  mark  the  price  upon  it.  This  he  would  give  to  a 
beggar  with  directions  for  finding  a  purchaser.  Large  numbers  of 
these  eleemosynary  works  were  collected  after  his  death.  One  of  his 
strong  characteristics  was  hatred  of  the  Jews.  He  would  cross  the 
street  in  order  to  avoid  them,  and  throw  away  a  garment  that  had 
touched  one  of  them.  Entering  his  house,  one  day,  he  found  his 
housekeeper  bargaining  with  one  of  the  despised  race.  He  chased 
him  out  with  great  fury,  sent,  his  housekeeper  away  to  perform  quar- 


CANO  —  CANOVA.  177 

anting,  purified  his  house  by  re-paving  the  spot  where  the  Israelite 
had  stood,  and  gave  the  shoes,  in  which  he  had  himself  followed  his 
tracks,  to  his  servant.  In  his  last  sickness,  he  refused  to  receive  the 
sacrament  from  his  attendant  priest,  because  he  had  communicated 
with  Jews;  and,  when  they  gave  him  a  rudely  sculptured  crucifix, 
pushed  it  away.  Being  reproved,  he  answered,  "  Vex  me  not  with 
this  thing,  but  give  me  a  simple  cross,  that  I  may  adore  it,  both  as  it 
is  in  itself,  and  as  I  can  figure  it  in  my  mind."  "  This  being  done," 
Palomino  says,  "  he  died  in  a  manner  highly  exemplary,  and  edify- 
ing to  those  about  him."  Cano's  architectural  works  were  chiefly 
retablos,  which  were  executed  according  to  the  taste  of  the  day, 
loaded  with  heavy  ornamentation.  Very  few  of  these  remain;  but 
the  Louvre  has  a  few  architectural  drawings,  simple  and  elegant  in 
style.  He  loved  his  chisel  better  than  his  brush,  and  the  little  of  his 
work  which  remains,  proves  him  to  have  been  excelled  by  no  carver 
of  Spain.  When  weary  of  painting  he  carved  for  refreshment.  A 
pupil  once  remarked  upon  this  strange  method,  when  he  replied, 
"  Blockhead,  don't  you  perceive  that  to  create  form  and  relief,  on  a 
flat  surface,  is  a  greater  service  than  to  fashion  one  shape  into 
another  ? "  The  masterpiece  of  his  chisel,  now  remaining,  is  a 
Virgin,  about  a  foot  high,  in  the  Sacristy  of  the  Cath.  of  Granada. 
In  painting  he  was  a  ready  draughtsman,  yet  was  accustomed  to 
borrow  largely  from  the  ideas  of  others,  and  defended  the  practice. 
His  works  are  the  finest  produced  by  any  Spaniard  without  study  in 
Italy.  The  Queen  of  Spain's  Gall,  has  eight  of  his  pictures.  The 
ch.  of  Getafe,  two  leagues  from  Madrid  towards  Toledo,  has  six 
large  pictures  by  Cano,  adorning  the  retablo  of  the  high  altar.  The 
Cath.  of  Granada  was  cruelly  robbed  by  the  French,  but  still  retains 
some  good  altar-pieces  by  its  artist-canon.  The  Cath.  of  Malaga 
boasts  the  "  Virgin  of  the  Rosary,"  in  which  the  hands  and  feet  are 
peculiarly  beautiful.  This  picture  is  fast  decaying.  The  Mus.  of 
Valencia  has  two  pictures  by  this  master.  One  of  his  most  beautiful, 
and  latest  works,  representing  "  Our  Lady  of  Bethlehem,"  painted 
at  Malaga  for  Don  Andres  Cascantes,  was  presented  to  the  Cath.  of 
Seville,  where  it  still  hangs  in  a  small  chapel,  lighted  only  by  votive 
tapers.  It  is  finished  with  exceeding  care,  and  is  a  worthy  crown  to 
his  labors.  The  portraits  by  Cano,  which  remain,  are  few,  but  ex- 
cellent. The  Louvre,  the  National  Mus.  at  Madrid,  and  the  Royal 
Mas.,  each  possess  one  of  these  works. 

Canova,  Antonio,  born  in  Possagno  (1757-1822).  His  father  and 
grandfather  were  stone-cutters.  The  former  died  young,  and  Antonio 
was  left  to  the  care  and  instruction  of  the  latter.  Works  executed 
by  Canova  in  his  ninth  year  still  remain.  Not  far  from  his  home  lived 
the,  Signor  Gio.  Faliero,  who  was  accustomed  to  employ  the  old 
Pasino  Canova,  for  whom  he  entertained  so  great  a  regard  that  he 
sometimes  invited  him  to  spend  a  few  days  at  his  villa.  Antonio  ac- 
12 


178  CANOVA. 

companied  his  grandfather,  -became  the  friend  of  the  young  Giuseppe 
Faliero,  and  the  favorite  of  the  entire  family.  On  one  occasion  when 
Canova  and  his  grandfather  attended  a  festival  in  the  Villa  Faliero, 
the  ornament  for  the  dessert  was  forgotten.  The  mistake  being  dis- 
covered almost  the  moment  it  was  required,  the  servants  applied  to 
Pasino  to  assist  them,  for  they  feared  the  displeasure  of  the  master. 
The  old  man  could  do  nothing,  but  the  young  Tonin,  as  he  was 
called,  asked  for  some  butter,  and  presently  carved  a  lion.  This 
being  sent  to  the  table  attracted  the  attention  of  all,  and  Tonin  was 
sent  for.  He  received  the  praises  of  the  whole  company,  and  from 
this  time  the  Senator  Faliero  became  his  patron.  This  anecdote  is 
very  pleasing,  but  it  is  probable  that  the  talents  of  Canova  were  well 
known  to  Faliero  before  this  occurrence.  He  placed  the  boy  under  the 
tuition  of  Giuseppe  Bernard!,  called  Toretto,  a  Venetian  sculptor,  who 
had  settled  at  Pagnano.  Canova  was  at  this  time  twelve  years  of  age. 
He  remained  two  years  with  this  master,  and  during  that  time  made 
many  statues  and  models  which  are  still  preserved  in  the  Faliero 
family,  and  in  various  collections.  During  an  absence  of  his  master 
he  made  the  models,  in  clay,  of  two  angels,  which  were  his  first  really 
original  work.  He  placed  them  in  a  conspicuous  situation,  and 
awaited  the  master's  return  with  hope  and  fear.  Toretto  remained 
astonished  before  them,  and  exclaimed  that  it  was  truly  a  marvellous 
work.  From  these  models  the  grandfather  executed  in  pietra  dura 
the  two  angels  on  the  high-altar  at  Monfumo.  About  this  time 
Canova  executed  his  first  representation  of  the  human  form  in  marble. 
He  made  small  statues  and  used  them  as  gifts  for  his  friends.  When 
he  was  fifteen  his  patron  sent  for  him  to  go  to  Venice,  and  received 
him  kindly  into  his  own  house.  Canova  desired  to  do  something  for 
himself,  and  engaged  to  work  the  latter  half  of  the  day  for  Giuseppe 
Ferrari,  nephew  of  Toretto.  In  a  private  letter  Canova  afterwards 
wrote,  "  I  labored  for  a  mere  pittance,  but  it  was  sufficient.  It  was 
the  fruit  of  my  own  resolution,  and,  as  I  then  flattered  myself,  the 
foretaste  of  more  honorable  rewards."  This  fact  places  his  genius 
before  us  in  a  strong  light,  for  it  is  unusual  that  a  youth  of  fifteen 
should  receive  money,  instead  of  paying  it  for  instruction.  In  Venice 
a  new  field  was  open  to  his  observation.  He  systematically  divided 
his  time;  passed  his  mornings  in  the  Acad.  or  in  some  Gall.,  his 
afternoons  in  the  workshop,  and  the  evenings  in  studies  which  had 
been  neglected  in  his  youth.  The  first  commission  which  Canova 
received  was  from  the  Commendatore  Farsetti,  and  consisted  of  two 
baskets  filled  with  fruits  and  flowers,  sculptured  in  marble,  and 
placed  on  the  balustrade  of  the  staircase  which  led  to  the  picture- 
gallery,  in  the  Pal.  Farsetti,  where  Canova  had  spent  much  time  in 
study.  These  works  had  no  especial  excellence,  and  prove  that  the 
powers  of  Canova  were  not  extraordinary  at  that  time.  At  the  end 
of  a  year  he  went  with  the  Faliero  family  to  their  summer  home  at 


CANOVA.  17i> 

Asolo.  Some  time  previous  to  this,  his -patron,  desiring  to  possess  a 
good  work  of  his,  had  given  him  as  a  subject,  a  group  of  Orpheus 
and  Eurydice,  and  wished  him  to  represent  the  moment  when  the 
lover  beholds  her  torn  from  his  arms  forever.  He  had  worked  upon 
this  in  his  leisure  hours,  and  took  everything  necessary  for  the  work 
with  him  to  Asolo,  where  he  finished,  in  his  sixteenth  year,  "  Euryd- 
ice," his  first  original  statue.  It  was  executed  in  pietra  di  Costosa, 
and  was  the  size  of  life.  From  this  time  Canova  perceived  a  great 
deficiency  in  the  models  then  used,  for  it  was  customary  to  make 
them  many  times  smaller  than  the  statue  when  finished.  He  deter- 
mined to  make  all  his  models,  even  those  of  colossal  figures,  of  the 
exact  size  in  which  they  were  to  be  finished.  After  this  time  he  oc- 
cupied a  cell  in  the  monastery  of  the  Augustine  friars  attached  to  the 
ch.  of  S.  Stefano.  During  the  next  three  years,  in  addition  to  his 
studies,  he  was  employed  on  the  "  Orpheus,"  and  in  executing  a 
bust  of  the  Doge  Renier.  He  was  accustomed,  at  this  time,  to  study 
entirely  from  nature.  He  also  gave  much  time  to  anatomy,  and  in 
later  years  made  dissections  with  his  own  hand,  in  order  to  sketch,  and 
frequently  to  model  from  important  parts,  or  well-defined  conforma- 
tions in  particular  instances.  In  1776  his  "  Orpheus  "  was  exhibited 
at  the  annual  festival  of  the  Ascension.  It  happened  that  at  the  same 
time  the  opera  of  "  Orpheus  "  was  brought  out  in  Venice.  The 
praise  which  he  then  received  was  always  remembered  by  Canova 
"  as  that  which  made  him  a  sculptor,"  to  use  his  own  words;  and  his 
gratitude  for  it  caused  him,  when  created  Marquis  of  Ischia,  to  choose 
the  serpent  and  lyre,  the  mythological  symbols  of  Orpheus  and  Euryd- 
ice, for  his  armorial  ensigns.  He  soon  received  an  order  from  the 
Senator  Grimani  for  a  copy  of  the  "  Orpheus,"  which  was  the  first 
statue  he  executed  in  Carrara  marble.  Finding  his  workshop  too 
small,  he  removed  to  one  in  the  street  of  S.  Maurizio,  where  he  con- 
tinued until  his  final  departure  from  his  native  country.  His  next 
work  was  a  statue  of  "  ^Jsculapius,"  larger  than  life;  and  it  is  said  that 
but  a  short  time  before  his  death,  he  saw  this  work  for  the  first  time 
after  it  had  left  his  atelier,  and  declared  himself  sorrowful  that  "  his 
progress  had  by  no  means  corresponded  with  the  indications  of  excel- 
lence exhibited  in  this  performance  of  his  youth."  He  also  executed 
a  group  of  "  Apollo  and  Daphne,"  never  entirely  finished.  When 
twenty-two  years  old,  he  completed  the  group  of  "Daedalus  and  Ica- 
rus, "  for  the  Senator  Pisani.  This  was  intended  as  an  outward  decora- 
tion of  his  palace,  but  when  finished,  it  was  considered  too  valuable, 
and  was  placed  in  the  Gall,  already  made  famous  by  the  "  Family  of 
Darius  "  of  Paul  Veronese,  and  other  excellent  works.  This  may  be 
considered  his  last  work  executed  in  Venice,  as  he  went  to  Rome  soon 
after  his  twenty-third  birthday.  He  had  been  recommended  by  let- 
ters to  the  Cavaliere  Zuliani,  who  then  represented  the  Republic  of 
Venice  at  Rome,  and  was  the  intimate  friend  of  Faliero.  He  was  an 


180  CANOVA. 

enlightened  and  generous  protector  of  the  arts,  and  received  Canova 
with  great  kindness.  He  soon  arranged  to  have  the  model  of  "  Daeda- 
lus and  Icarus  "  displayed  before  the  best  artists  and  connoisseurs  in 
Rome.  The  trepidation  with  which  Canova  went  to  this  exhibition, 
can  easily  be  imagined.  The  praise  which  he  received,  and  the 
acknowledgment  of  his  merit,  established  his  reputation.  He  had 
long  desired  to  undertake  a  group  on  some  heroic  subject,  and  Zuli- 
ani  procured  him  the  marble,  and  promised  that  if  no  other  purchaser 
appeared,  he  would  give  him  the  full  value  of  the  group  when 
finished.  The  subject  chosen  was  that  of  "  Theseus  vanquishing  the 
Minotaur,"  the  figures  to  be  of  heroic  size.  His  workshop  was  in  a 
part  of  the  Venetian  Pal.  to  which  no  one  had  access.  He  worked  with 
untiring  industry,  studied  in  the  museums  and  collections  at  Rome, 
and  at  daylight  was  often  seen  with  his  sketch-book  or  modelling  ap- 
paratus before  the  statues  in  front  of  the  capitol,  or  the  colossal 
figures  on  Monte  Cavallo.  In  the  mean  time  his  friends  in  Venice 
succeeded  in  obtaining  for  him  a  pension  of  300  ducats  from  the 
government.  While  at  work  upon  the  "  Theseus  "  he  also  finished  a 
statue  of  "Apollo,"  which  last  was  first  exhibited  at  the  same  time  with 
the  "  Minerva  Pacifica  "  of  Angelini,  and  in  spite  of  the  formidable  com- 
petition, the  "  Apollo"  received  high  praise.  At  length  the  "  The- 
seus ' '  was  finished.  Its  existence  was  unknown  to  all  save  the  ambas- 
sador. In  order  to  give  full  effect  to  the  first  exhibition  of  this  work, 
Zuliani  gave  an  entertainment  and  invited  all  the  most  distinguished 
men  of  Rome.  A  model  of  the  head  of  Theseus  had  been  prepared 
by  the  artist,  and  attracted  the  attention  of  the  guests.  Various  opin- 
ions were  expressed  regarding  its  form,  its  expression,  and  subject,  and 
all  agreed  that  it  was  an  antique  of  great  merit.  In  the  midst  of  the 
talk,  the  ambassador  said,  "  Come,  let  us  end  these  disputes  by  see- 
ing the  original,"  and  the  statue  was  unveiled  before  them.  Every- 
thing was  forgotten  in  their  surprise  and  admiration,  and  even  the  ar- 
tists, who  afterwards  pursued  him  with  envious  malice,  praised  him 
in  that  moment.  Canova  was  often  heard  to  say  that  death  itself 
could  not  have  been  more  terrible  than  his  emotions  during  these  oc- 
currences. With  the  completion  of  this  work  terminated  the  novitiate 
of  Canova.  From  this  time  his  fame  was  established.  He  was  soon 
selected  by  Volpato  to  erect  a  monument  to  Clement  XIV.,  "the 
suppressor  of  the  Jesuits,  the  collector  of  the  Clementine  Mus.,  and 
the  author  of  those  elegant  letters  by  which  his  family  name,  Gan- 
ganelli,  has  been  rendered  famous  over  Europe."  Canova  hesitated 
in  accepting  this,  feeling  that  his  time  should  be  controlled  by  those 
who  had  bestowed  his  pension.  He  went  therefore  to  Venice,  and 
laid  the  matter  before  the  senate,  who  directed  him  to  employ  his 
time  as  was  most  profitable  to  himself.  He  now  gave  up  his  studio 
in  Venice,  and,  as  Zuliani  left  Rome  at  this  time,  he  established  him- 
self in  the  Strada  Babbuino,  and  opened  that  studio  which  is  still  the 


CANOVA.  181 

resort  of  the  lovers  of  art,  of  all  nations.  He  now  commenced  to 
practise  upon  his  long  meditated  design  of  making  his  original  models 
of  the  dimensions  of  the  projected  work.  In  1787,  the  monument  of 
Ganganelli  was  first  exhibited.  It  was  much  praised,  even  by  Mili- 
zia,  a  bitter  critic.  This  was  followed  by  a  monument  to  Clement 
XIII.,  erected  by  his  nephews  in  S.  Peter's;  and  the  mourning  genius 
in  this  monument  is  one  of  the  loveliest  works  of  Canova.  These  two 
monuments  employed  the  best  part  of  ten  years  of  the  most  vigorous 
time  in  his  life.  An  engraving  of  the  first  monument  had  been  dedi- 
cated to  Zuliani,  but  Canova  desired  to  give  him  some  more  substan- 
tial proof  of  his  gratitude,  and  made  for  him  a  statue  of  Psyche;  but 
Zuliani  hesitated  to  accept  it,  and  was  only  persuaded  to  do  so  with 
the  understanding  that  the  artist  should  receive  from  him  a  number 
of  gold  and  silver  medals,  with  Psyche  on  one  side,  and  the  head  of 
Canova  on  the  other,  to  distribute  among  his  friends.  In  the  midst 
of  these  arrangements,  the  ambassador  died,  and  the  heirs  of  Zuliani, 
displeased  at  his  having  given  his  works  of  art  to  the  public  library, 
refused  to  carry  out  his  plans.  Subsequently  the  "Psyche  "  was  pur- 
chased by  Napoleon  and  presented  to  the  Queen  of  Bavaria.  The 
fame  of  Canova  extended  to  Russia,  and  most  advantageous  offers 
were  made  him  to  go  to  St.  Petersburgh.  He  did  not  wish  to  do  so, 
and  excused  himself  on  account  of  a  commission  from  the  Venetian 
senate.  This  was  a  monument  to  the  Admiral  Emo.  Canova  suc- 
ceeded so  well  in  this  that  a  gold  medal  was  made  by  order  of  the 
senate  and  presented  to  him;  while,  at  the  same  tune,  an  annuity  for 
life  was  voted  him.  In  1798,  unable  to  endure  the  revolutionary 
frenzy  at  Rome,  he  retired  to  his  native  Possagno.  Here  he  re- 
mained more  than  a  year  and  employed  his  time  in  painting.  Al- 
though we  are  not  accustomed  to  associate  his  name  with  this  branch 
of  art,  he  was  by  no  means  a  despicable  painter,  and  his  pictures, 
which  Cicognara  states  as  twenty-two,  were  more  numerous  than  that. 
In  May,  1800,  his  masterpiece,  representing  the  Saviour  just  taken 
from  the  cross,  surrounded  by  the  Maries,  S.  John,  Joseph  of  Arima- 
thea,  ami  Xirodemns,  was  placed  in  the  parish  ch.  of  Possagno. 
This  was  the  first  of  his  many  munificent  gifts  which  made  this  hum- 
ble church  a  splendid  temple.  After  his  return  to  Rome,  his  health 
being  affected  by  continual  application,  he  determined  to  leave  the 
many  orders  which  awaited  him,  and,  in  company  with  Prince  Rezzo- 
nieo,  he  visited  Vienna  and  Berlin.  He  returned  with  restored  health, 
and  from  this  time  enjoyed  the  reputation  he  had  so  well  earned,  and 
was  constantly  employed  in  the  most  important  labors.  His  "  Per- 
seus "  was  placed,  by  a  public  decree,  in  one  of  the  Stanze  of  the 
Vatican,  an  asylum  hitherto  denied  to  modern  art.  This  was  a  proud 
triumph  for  Canova.  In  1802-03,  he  went  to  Paris  at  the  request 
of  Napoleon,  to  model  the  bust  for  a  colossal  statue,  finished  six  years 
after.  In  1810  he  was  ealled  again  to  Paris  to  prepare  a  model  for 


182  CANOVA. 

the  statue  of  Maria  Louisa.  In  1805,  he  went  the  second  time  to 
Vienna,  where  he  modelled  the  bust  of  the  emperor.  With  the  ex- 
ception of  these  journeys,  from  1800  to  1815,  he  never  quitted  Rome, 
and,  in  truth,  scarcely  left  his  workshop.  In  the  last  named  year 
he  was  sent,  in  an  official  capacity,  to  Paris,  for  the  purpose  of  re- 
claiming the  works  of  art  which  had  been  taken  from  Italy,  and  be- 
longed to  the  patrimony  of  the  Church.  His  exertions,  and  the  suc- 
cess attendant  upon  them,  should  ever  be  remembered  by  Romans 
with  gratitude.  When  his  commission  was  happily  accomplished  he 
went  to  London.  Here  he  was  received  with  great  distinction.  The 
king  honored  him  with  several  conferences,  gave  him  a  commission 
for  a  beautiful  group,  presented  him  with  rich  gifts,  and  made  him 
the  bearer  of  private  letters  to  the  Pope.  The  joy  in  Rome  when 
her  works  of  art  were  restored,  was  increased  when  Canova  himself 
arrived.  His  entry  there  may  be  called  a  triumphal  one,  and  took 
place  on  the  5th  of  January,  1816.  He  had  been  president  of  S. 
Luke's  before;  he  was  now  made  president  of  the  commission  for  the 
purchase  of  objects  of  art,  and  of  the  Acad.  of  Archeology.  In  full 
consistory,  the  Pope  ordered  his  name  to  be  inscribed  in  the  "  golden 
volume  of  the  Capitol,"  with  the  title  of  Marquis  of  Ischia,  and  a  pen- 
sion of  3000  crowns  a  year  was  given  him.  Canova  now  designed  to 
execute  a  colossal  statue  of  "  Religion,"  to  commemorate  the  return 
from  banishment  of  the  Pope.  He  only  waited  for  the  proper  au- 
thorities to  determine  where  it  should  be  placed ;  but  this  they  would 
not  do,  and,  through  mutual  jealousies,  Rome  was  deprived  of  the 
magnificent  gift.  Canova  was  filled  with  sorrow  and  regret  at  this 
circumstance,  but  he  determined  that  not  only  one  statue,  but  his  re- 
maining life  and  fortune,  should  be  consecrated  to  religion;  and  he  re- 
solved to  erect  a  church  at  Possagno,  adorned  with  many  works  of 
art,  and  that  there  his  ashes  should  repose.  In  the  summer  of  1819, 
after  many  preparations,  Canova  arrived  at  his  native  town.  On  the 
8th  of  July,  he  assembled  his  workmen  and  gave  them  a  sumptuous 
entertainment.  Many  young  shepherdesses  and  peasant  girls  had 
joined  in  the  festivities,  and  assisted  in  the  preliminary  excavations. 
At  the  close  of  the  day,  each  one  received  a  present  from  Canova  as 
she  passed  his  seat  to  bid  him  farewell.  On  the  eleventh  of  the 
month  the  religious  ceremony  of  laying  the  foundation  stone  of  the 
future  church  took  place.  An  immense  concourse,  not  only  from  the 
surrounding  country,  but  from  Venice,  was  present.  Canova,  habited 
in  his  robes  as  a  Knight  of  Christ,  and  bearing  the  insignia  of  various 
other  orders,  led  the  procession.  The  occasion  must  have  been  most 
impressive,  for  all  could  not  have  passed  away,  who  had  seen  this 
famous  man,  when,  a  poor  boy,  he  attended  the  steps  of  his  grand- 
father, the  stone-cutter,  now  raised  by  the  noblest  distinctions.  He 
consecrated  his  life  and  fortune  to  the  service  of  God,  and  the  bene- 
fit of  his  birthplace.  Every  autumn,  Canova  visited  Possagno,  en- 


CANOVA.  183 

couraged  and  regarded  the  workmen,  and  changed  from  time  to 
time1,  as  seemed  best  to  him,  the  details  of  the  previous  plan.  The 
expenditure  he  thus  incurred  necessitated  great  exertion,  and  he  con- 
stantly undertook  new  commissions.  One  work  of  this  time,  the 
statue  of  Washington,  is  especially  interesting  "  as  the  first  piece  of 
sculpture  executed  in  the  Old,  and  publicly  commissioned  in  the  New 
World;  thus  uniting,  by  the  fame  of  one  individual,  the  art  of  both 
hemispheres."  (Memes.)  In  his  last  winter  he  was  more  than  or- 
dinarily diligent,  engaged  upon  an  equestrian  statue  of  Ferdinand  of 
Naples.  On  account  of  this  work,  in  May,  he  went  to  that  city,  and 
there  became  ill.  He  returned  to  Rome  where,  for  a  time,  he  seemed 
to  revive,  and  was  able  to  resume  his  work.  He  arrived  in  Possagno 
on  the  1 7th  of  September,  and  in  October  went  to  the  Villa  Faliero. 
A  half  century  had  passed  since  he  had  here  indulged  the  dreams  of 
youth,  and  he  lingered  lovingly  on  every  favorite  spot.  Though  con- 
stantly growing  weaker  he  went  to  Venice,  to  the  house  of  his  friend 
Francesconi,  where,  on  the.  13th  of  October,  he  died.  Solemn  ser- 
vices were  held  in  Venice  when  his  bier  was  borne  to  the  cathedral 
by  the  professors  of  the  academy,  attended  by  the  most  distinguished 
men  in  art,  letters,  or  rank.  His  remains  were  then  consigned  to  a 
deputation  of  priests  from  Possagno,  and  borne  in  a  barge  to  Pos- 
tioma.  From  here  they  were  taken  to  his  temple,  and  on  the  25th, 
the  last  honors  were  paid  them.  On  this  occasion,  the  crowd  was 
so  vast  that  they  were  obliged  to  deliver  the  oration  in  the  open 
air.  The  Venetian  Acad.  obtained  the  heart  of  Canova,  to  contain 
which,  an  elegant  little  monument  was  erected  in  the  hall  of  the  Pal. 
of  the  Arts.  The  Venetian  artists  made  arrangements  to  erect  a 
cenotaph  to  him.  and  selected  for  it  his  own  model  of  the  tomb  of 
Titian.  In  Rome  a  statue  was  decreed  to  him,  and  he  was  pro- 
claimed perpetual  president  of  her  chief  academy.  In  personal  ap- 
pearance Canova  was  not  especially  attractive.  His  hair  was  black 
and  luxuriant,  and  his  forehead  of  noble  dimensions,  but  the  outline 
of  his  features  was  neither  grand  nor  extraordinary.  His  head  was 
remarkably  well  set  upon  his  shoulders,  and  his  loose  manner  of 
dressing  his  neck  permitted  this  to  be  seen.  His  whole  air,  manner, 
and  dress  was  that  of  modesty,  benevolence,  and  simplicity.  There 
is  a  story  that  when  he  first  arrived  in  Venice,  he  fell  in  love  with  a 
beautiful  girl,  somewhat  older  than  himself,  who  came  to  draw  in  the 
Farsctti  Gall.  Day  by  day  he  watched  her,  until  at  last  she  came  no 
more.  At  length  her  attendant  appeared,  and  when  he  inquired  for 
the  loved  one,  she  burst  into  tears  and  exclaimed,  "  La  Signora  Julia 
is  dead."  He  said  no  more.  Who  Julia  was  he  never  knew,  but, 
through  all  his  life,  whenever  he  endeavored  to  unite  the  purity  of 
the  angel  with  the  representation  of  earthly  beauty,  the  lovely  Julia 
was  in  his  mind.  The  habits  of  his  life  were  very  unostentatious. 
He  arose  early  and  worked  late.  He  went  little  into  public  society, 


184  CANOVA-CANTAGALLINA. 

but  almost  always  surrounded  himself  with  a  few  friends  at  dinner. 
He  entertained  them  cordially,  but  without  display.  He  was  very 
abstemious,  and  required  rest  even  after  his  frugal  meals.  He  joined 
in  cheerful  and  light  conversation,  but  avoided  any  subject  connected 
with  the  arts,  or  anything  that  required  mental  activity.  He  re- 
tired to  his  chamber  at  eleven,  and  amused  himself  with  a  book  or 
pencil  before  sleeping.  Some  of  his  finest  sketches  were  made  at  this 
time,  a  part  of  which  have  been  published  under  the  title  of  "  Pen- 
sieri."  To  describe  one  day,  is  to  describe  his  whole  life.  His  re- 
ligious character  and  generosity  have  been  sufficiently  portrayed.  In 
professional  intercourse,  he  was  governed  by  the  same  rules  that  regu- 
lated his  life.  The  progress  of  art  through  the  achievements  of 
others  afforded  him  pleasure;  envy  and  jealousy  were  unknown  to 
him.  At  the  same  time  he  was  severely  just  in  the  estimation  of  his 
own  merits.  He  would  not  receive  pupils,  and  no  one  could  boast  of 
being  taught  by  him;  but  he  never  refused  to  leave  his  own  work  to 
give  his  advice  or  assistance,  or  to  visit  the  work  of  any  other  artist. 
To  art  he  was  a  willing  and  powerful  patron,  and  he  had  executed,  at 
his  own  order  and  expense,  the  numerous  busts  of  distinguished  per- 
sons in  the  Mus.  of  the  Capitol.  The  following  is  a  list  of  a  por- 
tion of  his  works,  with  the  dates  of  their  execution  :  — 

1772.  Two  baskets   of  fruits   and  flowers   in  marble,    Farsetti 

Pal. 

1773.  Statue  of  Eurydice;  soft  stone  of  Costosa. 
1776.     Orpheus  ;  soft  stone  of  Costosa. 

1779.  Dsedalus  and  Icarus  ;  Carrara  marble,  Pasini  Pal.,  Venice. 

1782.  Theseus  and  the  Minotaur. 

1787.  Tomb  of  Clement  XIV.,  Rome,  ch.  of  the  Holy  Apostles. 

1792.  Tomb  of  Clement  XIII.,  Rome,  S.  Peter's. 

1793.  Second  statue  of  Psyche. 

1794.  Cenotaph  of  Admiral  Emo. 

1800.  Perseus,  with  the  Head  of  Medusa;  Vatican. 

1803.  Colossal  statue  of  Napoleon. 

1805.  Venus  victorious ;  head  of  Pauline  Bonaparte;  Villa  Bor- 

ghese,  Rome. 

1811.  Statue  of  Maria  Louisa. 

1817.  Monument  of  Cardinal  York. 

1818.  Sitting  statue  of  Washington. 
1822.  Pieta  in  model. 

1822.     Seven  reliefs  for  the  Metopes  of  the  temple  at  Pqssagno. 

These  are  but  a  small  portion  of  his  works.  Cupid,  Psyche, 
Venus,  Adonis,  Nymphs,  etc.,  etc.,  were  his  favorite  subjects  and 
often  repeated. 

Cantagallina,  Remigio,  born  at  Florence  (1582-1630).  An 
eminent  designer  and  engraver,  said  to  have  instructed  Callot  and 
Stefano  della  Bella.  His  pen-drawings  are  much  prized. 

The  following  are  his  principal  plates:  — 


CANTAGALLINA  —  CARAGLIO.  185 

The  Immaculate  Conception;  after  Callot. 

Set  of  four  Landscapes.    1609. 

Set  of  six  Landscapes. 

Set  of  twelve  Landscapes;  octagon;  marked  with  cipher. 

Set  of  six  Landscapes  ;  with  cipher.     1624. 

Set  of  plates  of  the  scenes  of  an  Opera;  after  designs  by  Giulio 
Parigii. 

Set  of  plates  called  the  Palazzo  della  Fama.     1608. 

Cantarini,  Simone,  called  II  Pesarese,  born  at  Orpezza,  1612;  died 
at  Verona,  1648.  After  studying  with  other  masters  he  became  the 
pupil  of  Guido  Reni.  lie  came  to  be  one  of  the  very  best  Italian 
portrait  painters.  A  head  of  Guido  by  Cantarini  in  the  Acad.  of 
Bologna  can  scarcely  be  surpassed  in  the  world.  He  was  vain,  and 
so  disagreeable  in  disposition  that  he  was  obliged  to  leave  Bologna, 
and  went  to  Rome.  His  imitation  of  Guido  is  very  apparent,  and 
even  more  so  in  his  etchings  than  in  his  paintings.  He  is  very  highly 
esteemed  as  an  engraver. 

Cantofoli,  Ginevra,  born  at  Bologna  (1618-1672).  Pupil  of 
Elisabetta  Sirani.  Her  pictures  were  historical  and  may  be  seen  in 
several  churches  in  Bologna. 

Canuti,  Domenico  Maria,  born  at  Bologna  (1620-1684).  One 
of  the  most  excellent  pupils  of  Guido.  He  was  employed  in  the 
public  edifices  of  Rome,  Bologna,  and  Padua.  He  also  etched 
several  plates  in  the  manner  of  Gnido. 

Capella,  Jan  Van  de.  A  Dutch  painter  of  marine  views,  born  at 
Amsterdam,  and  granted  the  freedom  of  the  city  in  1653.  Further 
than  this  his  history  is  unknown.  His  pictures  are  much  admired  in 
England,  and  a  large  part  of  them  are  in  that  country.  No.  10,  Gall, 
of  the  Duke  of  Arcinhfr^  ;it  Brussels,  is  by  him,  and  represents  the 
mouth  of  the  Scheldt,  with  numerous  vessels.  His  pictures  are  signed 
J.  V.  Capelle,  but  are  not  dated.  He  liked  smooth  seas  best,  with 
objects  clearly  ivflr<-tr<l,  ;m<l  his  skies  are  often  red.  He  was  a  good 
colorist.  Some  of  his  works  are  winter  landscapes  with  skaters  on 
lake  or  river. 

Caracciolo,  Giambattista,  born  at  Naples  (15807-1641).  Al- 
though in  the  main  a  follower  of  the  Carracci,  he  was  somewhat' 
influenced  by  the,  Naluralisti.  He  is  said  to  have  been  one  of  a  cabal 
formed  to  exclude  all  masters  from  other  parts  of  Italy  from  Naples . 
This  association  is  said  to  have  committed  many  crimes.  Caracciolo 
went  to  Rome  and  studied  the  works  of  Annibale  Carracci  in  the 
Farnese  Pal.  to  so  good  a  purpose,  that  some  of  his  works  done 
afterwards  in  Naples  closely  resemble  those  of  Annibale.  Some  of 
Ms  pictures  are  seen  in  the  churches  of  Naples. 

Caraglio   or  Caralius,  Gio.  Giacomo,  born  at  Verona, 

|j)        (1512?-1570  ?).     An  eminent  Italian  designer  and  engraver 

Vi/      who  was  celebrated  for  his  copper-plates  from  1526  to  1551. 

From  his  style  he  is  believed  to  have  been  a  pupil  of  Marc 


186  CARAGLIO  —  CAKDUCCL 

Anton.  He  executed  some  medals  at  the  court  of  Poland  which 
gained  him  much  reputation,  and  he  was  often  employed  to  engrave 
gems. 

Caravaggio,  Michael  Angelo.     See  Amerighi. 

T  Cardi,  Ludovico,  called 

(T  f~*  TT  T  T"l  T  TCT  "T  J  Cigoli  from  the  place  of  his 

F  J  (^  1  V .  Jt1  .  1  IN  V  birth  (1559-1613).  One  of 

those  artists  distinguished 

more  by  the  absence  of  any  glaring  faults  than  by  the  presence  of 
any  striking  excellences.  His  color  was  warm  and  pleasing,  but  his 
expression  was  often  exaggerated.  He  was  a  follower  of  Baroc- 
cio,  and  well  understood  chiaro-scuro.  His  designs  were  sometimes 
grand.  S.  Francis  was  one  of  the  favorite  subjects  of  this  artist, 
and  one  of  the  best  of  these  pictures  is  in  the  Pitti  Pal.,  where  there 
is  also  a  "  Christ  walking  on  the  Sea  with  Peter  "  and  an  u  Ecce 
Homo,"  which  last  merits  much  praise.  In  the  Louvre  there  is  a  beau- 
tiful "  Flight  into  Egypt."  Several  of  his  works  are  in  the  churches 
of  Rome  and  Florence.  He  engraved  the  two  following  plates  :  — 

Mary  Magdalene  washing  the  feet  of  Christ  :  — 

The  Conversion  of  S.  Paul. 

Cardisco,  Marco,  called  U  Calabrese.  A  Calabrian  who  flour- 
ished from  1508  to  1542.  Some  of  his  works  may  be  seen  in  the 
churches  of  Naples. 

Carducci  or  Carducho,  Bartolomeo,  born  at  Florence,  1560;  died 
at  Madrid,  1608.  A  pupil  of  Zuccaro,  he  went  with  him  to  Spain. 
Carducho  had  also  studied  sculpture  and  architecture  under  Barto- 
lomeo Ammanati  at  Florence.  He  was  employed  by  both  Philip  II. 
and  his  successor.  Henry  IV.  invited  him  to  the  court  of  France, 
but  he  preferred  to  stay  in  Spain.  Among  his  works  at  the  Escorial, 
the  frescoes  in  the  spaces  between  the  bookcases  and  the  cornice  of 
the  library  are  especially  fine.  The  work  which  most  established 
.his  reputation  was  the  "  Descent  from  the  Cross,"  painted  for  the 
ch.  of  S.  Felipe  el  Real.  He  was  engaged  in  painting  a  gallery  at  the 
Pal.  of  the  Pardo  at  the  time  of  his  death.  He  was  an  imitator  of 
the  antique.  His  drawing  and  coloring  were  good,  and  he  was 
fastidious  to  a  fault,  in  his  own  ideas  of  excellence.  He  never  felt  as 
if  a  picture  was  finished,  and  he  declared  that  it  was  not  the  people  that 
he  wished  to  please,  but  those  who  could  judge  of  art. 

Carducci  or  Carducho,  Vincenzo,  born  at  Florence,  1568;  died 
at  Alcala  de  Henares,  1638.  Brother  of  Bartolomeo,  who  brought 
him  to  Madrid  in  1585.  Vincenzo  was  accustomed  to  declare  himself 
more  a  Spaniard  than  an  Italian.  He  was  instructed  in  painting  by 
his  brother,  and  at  his  death  was  appointed  to  succeed  him  as  painter 
to  the  king.  He  had  an  inventive  genius,  and  was  not  confined  to 
any  one  class  of  subjects.  He  had  studied  anatomy  to  good  advan- 
tage, and  his  pictures  are  vigorous  in  action,  his  draperies  grand,  and 


CARDUCCI  —  CAROTTO.  187 

his  coloring  rich.  In  the  National  Mus.  of  Madrid  are  the  pictures 
which  he  painted  for  the  Chartreuse  of  Paular.  They  number  54, 
and  he  agreed  to  paint  them  in  four  years.  Twenty-six  of  these 
illustrate  the  life  of  S.  Bruno;  an  equal  number  represent  events  in 
the  history  of  the  order,  and  two  are  a  combination  of  the  arms  of 
the  Royal  House  and  those  of  the  Carthusians.  These  works  are  a 
wonderful  monument  to  his  industry  and  inventive  powers.  They 
lose  much  of  their  effect  from  being  seen  in  a  museum.  They  were 
intended  for  the  lonely  silence  and  gloomy  shadows  of  a  cloister,  and 
to  speak  to  the  hearts  of  those  who  lived  in  perpetual  silence,  to 
whom  the  figures  of  these  pictures  became  friends,  and  were  to  them 
the  only  reminder  of  the  mothers  and  sisters  they  had  left,  or,  in 
fact,  of  the  existence  of  woman  in  the  world.  What  is  absurd  to  us 
now,  was  venerable  and  lovely  to  them.  The  pictures  of  Carducho 
are  seen  in  most  of  the  Castilian  cities.  In  the  Gall,  of  the  Queen 
of  Spain,  there  are  three  pictures  of  a  different  order  of  subjects: 
"  The  Taking  of  Rheinfelt,"  "  The  Relief  of  Constance,"  and  "  The 
Victory  at  Florus."  There  is  also  a  colossal  study  of  a  man's  head, 
which  is  very  effective  if  viewed  from  a  favorable  position.  Collec- 
tors of  sketches  formerly  esteemed  those  of  Carducho  very  highly. 
He  also  wrote  a  book  of  "Dialogues  on  Painting,"  published  in 
1633.  This  book  is  very  curious  and  rare.  His  portrait  at  the 
Louvre,  Gall.  Espagn.,  No.  454,  represents  him  as  turning  the  leaves 
of  this  book  with  one  hand,  and  holding  a  pen  in  the  other. 

Cariano,  Gio.,  born  at  Bergamo.  Flourished  early  in  the  16th 
century.  His  chef-d'oeuvre  was  a  "  Madonna  and  Saints  "  painted 
for  the  ch.  of  S.  Gottardo  in  Bergamo,  which  was  removed  to  the 
(Jail,  of  Milan,  No.  113,  during  the  French  domination.  He  made  a 
fine  reputation  as  a  portrait  painter.  Several  of  his  works  remain  in 
Bergamo;  Palazzo  Borghese,  Rome,  Room  IX.,  No.  32  ;  Hermitage, 
St.  Petersburg!!,  No.  116;  Dresden  Mus.,  No.  218  ;  Berlin  Mus.,  No. 
188. 

Carlevariis,  Luca,  born  at  Udina,  1665;  died  at  Venice,  1729. 
His  pictures  are  little  known  out  of  Venice,  and  represent  views  of 
that  city  and  other  sea-ports.  His  figures  have  spirit,  but  his  color 
is  not  good.  He  made  100  good  etchings  of  views  in  Venice. 

Carloni,  Gio.,  born  at  Genoa  (1590-1630).  He  studied  under 
Pussignano  at  Florence,  and  became  a  good  fresco  painter,  especially 
remarkable  for  his  fine  coloring. 

Carloni,  Giambattista  (1594-1680).  Younger  brother  of  the 
preceding,  with  whom  he  studied  under  Passignano,  and  painted  with 
him  afterwards.  He  was  remarkable  for  his  large  family,  having  had 
24  children  by  his  wife  Nicoletta  Scorza.  Three  of  his  sons  were 
painters.  The  Cath.  of  Guastato  at  Genoa  was  the  place  where  the 
Carloni  executed  their  best  and  most  extensive  works. 

Carotto,  Gianfraiicesco,  born  at  Verona   (1470-1546).     Out  of 


188  CAROTTO  -  CARRACCI. 

Verona  his  works  are  rare;  there  they  are  in  the  churches  and  the 
Palazzo  del  Consiglio.  Mantegna  was  his  teacher,  but  his  works 
more  nearly  imitate  the  manner  of  Leonardo.  His  drawing  was 
severe,  his  color  warm  and  well  blended.  The  ' '  History  of  Tobias  "  in 
S.  Eufemia  is  an  excellent  series  of  pictures. 

Carpaccio,  Vittore.  Flourished  early  in  the  16th  century.  Kug- 
ler  calls  him  "  the  historical  painter  of  the  elder  Venetian  school." 
His  pictures  represent  daily  life  in  Venice.  The  backgrounds  have 
landscape,  architecture,  etc.,  and  his  figures  are  numerous  and  full 
of  spirit,  his  color  deep  and  powerful.  Many  of  his  works  are  in 
the  Acad,  of  Venice,  among  which  are  eight  representing  S.  Ursula 
and  her  11,000  virgins.  His  pictures  are  also  in  the  Venetian 
churches,  in  the  Brera,  the  Louvre,  and  the  Berlin  Gall. 

Carpi,  Ugo  da.  Flourished  about  1510.  Born  at  Rome. 
Painter  and  engraver,  but  chiefly  important  on  account  of  having 
invented  (as  it  is  believed)  that  kind  of  wood-engraving  which  imi- 
tates drawings,  and  is  called  chiaro-scuro.  Bartsch  gives  52  plates 
by  Carpi ;  they  are  mostly  after  the  works  of  Raphael  and  Parmigi- 
anino,  and  are  spirited  and  masterly. 

Carpi,  Girolamo,  born  at  Ferrara  (1501-1556  ?).  Pupil  of  Garo- 
falo.  Painted  both  in  fresco  and  oil,  and  succeeded  in  portraits.  He 
was  also  an  architect  and  a  decorative  painter.  Julius  III.  desired  to 
have  him  superintend  the  Vatican  buildings,  but  his  rivals  in  Rome 
so  disturbed  him  that  he  returned  to  Ferrara. 

Carpioni,  Giulio,  born  at  Venice  (1611-1674).  Pupil  of  Ales- 
sandro  Varotari,  called  Paduanino.  He  painted  bacchanals  and 
history,  and  small  sacred  subjects,  many  of  which  are  in  the  churches 
of  the  Venetian  states.  Some  of  his  works  are  close  imitations  of 
Paolo  Veronese,  and  some  remind  one  of  Niccolo  Poussin,  though 
upon  examination  the  figures  are  not  as  highly  finished  as  those  of 
Poussin,  and  the  color  is  more  opaque.  His  pictures  are  in  private 
galleries  in  England. 

Carracci,  Ludovico,  born  at  Bologna  (1555-1619).  The  founder 
of  what  is  called  the  School  of  the  Carracci.  This  was  the  most  im- 
portant of  the  eclectic  schools  of  Bologna.  Ludovico  was  a  pupil  of 
Prospero  Fontana,  and  afterwards  of  Tintoretto.  He  studied  with 
more  system  and  devotion  to  the  principles  of  art  than  was  the  cus- 
tom of  his  time.  He  thus  incurred  much  criticism,  and  by  it  he  be- 
came convinced  of  the  need  of  a  reform  in  the  study  and  practice  of 
painting.  In  the  formation  and  conducting  of  his  school  he  was  as- 
sisted by  his  two  nephews,  Agostino  and  Annibale.  The  former 
composed  a  sonnet  in  which  the  principles  of  their  theory  was  set 
forth.  He  advocated  the  selection  of  the  chief  points  of  excellence 
from  various  masters,  par  exemple,  the  color  of  Lombardy,  the  truth 
and  nature  of  Titian,  the  design  of  Rome,  etc.,  etc.;  and  all  these 
were  to  be  united  to  the  study  of  Nature.  But  although  this  doctrine 


PORTRAIT  OF  CAESAR  BORGIA. 

BY  RAPHAEL. 
(Borghese  Palace,  Rome.)     See  p.  474. 


CARRACCI.  189 

was  the  foundation  of  the  school  of  the  Carracci,  they  soon  went  be- 
yond it,  and  became  independent  artists,  guided  by  their  own  genius. 
Their  school,  however,  was  most  prosperous;  so  much  so  that  all 
other  schools  in  Bologna  were  closed.  They  furnished  casts,  models, 
and  drawings,  as  well  as  living  subjects  for  study,  and  were  most 
attentive  to  their  pupils.  They  also  gave  theoretic  instruction  in 
anatomy,  perspective,  etc.  Ludovico  excelled  more  as  a  teacher  than 
as  a  painter,  and  in  his  works  the  greatest  ability  is  found  in  their 
examination  in  single  parts,  rather  than  as  a  whole.  The  larger 
number  of  his  works  are  in  Bologna,  and  in  the  Gall,  there  is  a 
fine  Madonna  surrounded  with  a  glory  of  angels,  with  SS.  Francis  and 
Jerome  ;  she  is  standing  on  the  moon.  Same  coll. ,  ' '  Birth  of  S.  John 
the  Baptist  "  has  some  most  attractive  features.  Several  of  his  pic- 
tures are  in  the  Louvre,  and  in  the  Doria  and  Corsini  galleries  in 
Rome.  He  seems  to  have  been  the  first  to  depict  the  pathos  of  sor- 
row, and  his  example  resulted  in  the  almost  numberless  sorrowing 
Maries  and  Ecce  Homos  of  the  Bolognese  artists.  There  is  a  higher 
feeling  in  his  works  which  raises  him  above  his  own  school.  Sir 
Joshua  Reynolds  gives  Ludovico  unbounded  praise.  It  is  said  that 
when  the  scaffoldings  were  removed  in  the  Cath.  of  Bologna,  he  dis- 
covered some  errors  in  the  *'  Annunciation,"  which  could  not  be  rem- 
edied then,  and  that  this  disappointment  hastened  his  death.  We 
have  a  few  plates  engraved  by  Ludovico  from  his  own  designs,  in  a 
masterly  style.  They  are  first  etched  and  then  finished  with  the 
graver. 

ENGRAVINGS  AFTER  THE  WORKS  OF  LUDOVICO  CARRACCI. 

Engraver,  ALGARDI,  Alessandro.  A  Blind  Bcir.ir:«r  and  his  Dog. 
The  Cries  of  Bologna,  in  80  plates,  engraved  by  Algardi  in  conjunc- 
tion with  Simon  Guillain. 

Engraver,  ALIAMET,  Francois  Germain.  The  Adoration  of  the 
Shepherds. 

Engraver,  AQUILA,  Francesco  Faraone.  The  Dead  Christ  in  the 
Lap  of  the  Virgin,  with  Mary  Magdalene  and  S.  Francis. 

AUBEUT,  Miclu-l.      Pan  instructed  by  Cupid;  half-length  figures. 

AUDRAN,  Charles.  The  Annunciation;  inscribed  Spiritus  Sanctus, 
etc.,  incorrectly  attributed  on  the  plate  to  Annibale.  The  picture  is 
in  the  Bologna  Cath.;  very  fine. 

Emjmver,  AUDRAN,  John.  S.  John  administering  the  Sacrament 
to  the  Virgin. 

Engraver,  BAILLU.     The  Dead  Christ  on  the  Lap  of  the  Virgin. 

Engraver,  BARTOLI,  Pietro  Sante.  The  Virgin  and  Child  in  the 
Clouds,  with  Saints. 

Engraver,  BLANCH ARD,  James.  S.  Agnes  adoring  the  Child  in 
the  arms  of  the  Virgin. 

Engraver,  BOULANGER,  John.  The  Holy  Family,  with  S.  Joseph 
giving  the  Infant  some  Cherries. 


190  CARRACCL 

Engraver,  BRIZZIO,  or  BRICCIO,  Francesco.  The  Return  out  of 
Egypt.  Portrait  of  Cinthio  Aldrobrandini.  A  Frontispiece  inscribed 
Explications  del  Sacro,  lenzuolo ;  1599;  scarce.  Another  Frontispiece 
inscribed  Tempio  al  Cardinale  Cinthio  Aldrobrandini;  1579.  Another 
Frontispiece  with  the  Arms  of  the  Duke  of  Modena,  with  children  in 
the  middle;  1594;  very  scarce.  S.  Francis  holding  the  Infant  Jesus, 
with  the  Virgin  in  the  Clouds.  The  Virgin  crowned,  with  the  Infant 
and  two  Angels. 

Engraver,  CAMERATA,  Giuseppe.  S,  Roch.  The  Assumption  of 
the  Virgin. 

Engraver,  CANTARINI,  Simone.     S.  Benedict  curing  a  Demoniac. 

Plates  by  himself,  from  his  own  Designs. 

Samson  overcoming  the  Lion;  L.  C.  G. 
The  Virgin  and  Child  wjth  four  Angels  ;  half  length. 
The  Virgin  suckling  the  Infant ;  half  length  ;  Lod.  Car.  inv.f. 
The  Holy  Family,  with  the  Virgin  washing  Linen  ;  L.  C.f. 
Another  Holy  Family  ;  1 604  ;  Ludovico  Carracci  fee. 
Another  Holy  Family  under  an  Arch. 
The  Frontispiece  to  the  Poems  of  Cesare  Rimaldi. 
A  Thesis  with  the  arms  of  Bonfigliovoli,  with  Mercury  and  Her- 
cules. 

Engraver,  CIAMBERLANO,  Luca.  Christ  appearing  to  S.  Theresa ; 
1615. 

Engraver,  CORIOLANO,  Gio.  Batista.  Christ  crowned  with  Thorns; 
fine. 

Engraver,  CORNEILLE,  Michel  the  Elder.  The  Virgin  suckling  the 
Child. 

Engraver,  CORNEILLE,  Michael  the  lounger.  Marriage  of  S- 
Catherine. 

Engraver,  CORT,  Cornelius.     The  Cord  of  S.  Francis. 

Engraver,  CUNEGO,  Domenico.     The  birth  of  S.  John  Baptist. 

Engraver,  DARET,  Peter.     The  Virgin  suckling  the  Child. 

Engraver,  DUPUIS,  Nicholas  Gabriel.     S.  Sebastian. 

Engraver,  FANTETTI,  Cesare.     Christ  in  the  Garden. 

Engraver,  FREY,  James.     Crowning  of  the  Virgin. 

Engraver,  FREZZA,  Gio.  Girolamo.     The  Virgin  suckling  the  Child. 

Engraver,  GANTREL,  Stephen.     S.  Francis  supported  by  an  Angel. 

Engraver,  GATTI,  Oliviero.  An  emblematical  subject  represent- 
ing an  armorial  bearing  supported  by  two  river  gods,  surrounded  by 
several  mythological  personages. 

Engraver,  GIOVANNINI,  Giacomo  Maria.     S.  Sebastian. 

Engraver,  GREEN,  Valentine.     The  Entombing  of  Christ. 

Engraver,  KESSEL,  Theodore.  Christ  and  the  Woman  of  Samaria. 
The  Woman  taken  in  Adultery. 


CARRACCI.  191 

Engraver,  LASNE,  Michael.     The  Visitation  of  the  Virgin. 

Engraver,  LORENZINI,  Fra  Antonio.     The  Ascension. 

Engraver,  MATTIOLI,  Ludovico.  The  Annunciation ;  scarce.  The 
Circumcision. 

Engraver,  MORIN,  John.     The  Virgin,  with  the  Dead  Christ. 

Engraver,  PASQUILINI,  Gio.  Batista.  S.  Felix  kneeling  before 
the  Virgin  and  Child. 

Engraver,  PITAU,  Nicholas.     The  Entombing  of  Christ. 

Engraver,  PODESTA,  Andrea.  Two  Subjects  from  the  Life  of  S. 
Diego. 

Engraver,  POILLY,  Francis  the  Elder.  The  Dead  Christ  on  the 
Lap  of  the  Virgin  at  the  foot  of  the  Cross. 

Engraver,  Rossi,  Girolamo,  called  DE  RUBEIS  THE  ELDER.  The 
Virgin  and  Child,  with  SS.  Jerome  and  Francis,  inscribed  Hieroni- 
mus  de  Rubeis  pic  tor,  delineavit  incidit. 

Engraver,  SCARAMUCCIA,  Luigi.     S.  Benedict  praying. 

Engraver,  SCIIULZE,  John  Gotfried.     The  Head  of  Christ. 

Engraver,  SIMONEAU,  Charles.     The  Stoning  of  Stephen. 

Engraver,  TORRE,  Flaminio.  The  Virgin  and  Child  with  SS. 
Francis  and  Jerome;  very  fine. 

Engraver,  TRABALLESI,  Giulio.     Conversion  of  S.  Paul. 

Carracci,  Agostino,  born  at  Bologna  (1558-1602).  A  man  of 
poetic  temperament  and  superior  education.  In  the  school  he  super- 
intended the  theoretical  instruction.  His  pictures  are  rare,  and  the 
most  important  one  is  the  "  Communion  of  S.  Jerome,"  now  in  the 
Gall,  of  Bologna.  The  "  Infant  Hercules  "  in  the  Louvre  has  been  at- 
tributed to  Annibale,  but  belongs  to  Agostino  Carracci.  There  is  no 
doubt  that  the  advice  and  suggestion  of  Agostino  had  much  to  do 
with  the  works  of  Annibale,  especially  in  his  mythological  pictures, 
for  the  latter  had  not  sufficient  knowledge  to  have  guided  him  in 
these  undertakings.  But  Agostino  is  chiefly  famous  as  an  engraver, 
and  is  one  of  the  most  celebrated  Italians  in  that  art.  His  plates  are 
very  numerous.  The  heads  are  admirable,  and  the  extremities  are 
worked  with  the  greatest  care.  His  instructor  was  Cornelius  Cort, 
and  his  manner  is  bold  and  free  like  that  of  his  master.  He  seems 
to  have  used  the  graver  entirely. 

ENGRAVINGS  AFTER  THE  WORKS  OF  AGOSTINO  CARRACCI. 

Engraver,  BARTOLOZZI,  Francesco.    The  Adulteress  before  Christ. 

Engraver,  BRIZZIO  or  BRICCIO,  Francesco.  The  great  S.  Jerome; 
the  plate  left  imperfect  by  Carracci,  and  finished  by  Brizzio.  Christ 
and  the  Samaritan  Woman;  1610. 

Principal  Plates  by  himself,  after  his  own  Designs,  Portraits  and  other 

Subjects. 

Agostino  Carracci. 

Antonio  Carracci,  his  father;  very  scarce. 


192  CARRACCI. 

Medallion  of  the  Emperor  Augustus;  C.  A. 

Bust  of  Cosmos  I.,  with  ornamental  figures. 

The  Head  of  a  Woman;  fine. 

Portrait  of  a  Lady,  with  a  collar  of  pearls. 

Giovanni  Tommaso  Costanzo. 

Princess  Christina  of  Lorraine. 

Ulysses  Aldrovandus. 

Marc  Antonio  Raimondi. 

Titiano  Vecelli.    1587. 

Antonio  Carracci  as  S.  Joseph. 

Eve  giving  the  Apple  to  Adam.    1581. 

The  Virgin  and  Child. 

The  Virgin  suckling  the  Child. 

The  Repose  in  Egypt. 

The  Virgin  in  the  Clouds  giving  the  Scapulary  to  a  Saint. 

The  Virgin  Seated  on  a  Step  with  the  Child;  SS.  Joseph  and 
John  and  an  Angel;  scarce. 

Good  Samaritan.     Proofs  before  the  letter  are  very  rare.     The 
impressions  with  the  name  of  Bertelli  are  retouched. 

The  Crucifixion,  with  two  Females  representing  Christianity  and 
Paganism. 

The  Resurrection. 

Le  Nome  di  Dio.  The  Pope  and  the  Senate  of  Venice  kneeling 
before  the  Virgin;  Luc.  Bartelli,  formis.  1582. 

S.  Francis  of  Assisi  receiving  the  Stigmata;  Agos.  Car.    1586. 

The  Cord  of  S.  Francis ;  S.  Francis  distributing  cords  to  persons 
of  different  orders.  1586. 

S.  Jerome  kneeling  at  the  entrance  of  a  cave.  There  are  impres- 
sions of  this  plate  which  are  very  scarce,  where  it  is  three  parts  fin- 
ished, and  the  rest  slightly  sketched.  The  plate  was  finished  by 
Villamena. 

Seventeen  plates  of  free  subjects,  called  Le  Lascivie  dei  Carracci. 

Two  other  indecent  subjects. 

A  Landscape  with  naked  figures. 

A  Landscape  with  the  same;  a  dance  in  the  distance. 

Cupid  conquering  Pan;  Omnia  vincit  Amor.    1599. 

Perseus  combating  the  Monster. 

Frontispiece  for  the  book  "  Cremona  Fidelissima,"  which  contains 
35  portraits  engraved  by  Agostino;  very  scarce. 

Subjects  after  Various  Masters  not  Mentioned  Elsewhere. 

A  Child  blowing  Bubbles.    Goltzius.   Very  scarce. 

Jacob  watering  the  Flocks  of  Rachael.     D.  Calvart.     1581. 

Judith;  half  length.  Lorenzo  Sabbatini.  Tobit  conducted  by  the 
Angel;  improperly  marked  RaffaeUe  dJUrbino.  It  is  after  RaffaeUe 
da  Reyyio. 


CARRACCI.  193 

.    The  Presentation  in  the  Temple.     Orazio  Samacchini. 

The  Virgin  and  Child  giving  the  Keys  to  S.  Peter.     The  same. 

Adoration  of  the  Magi.    1579.     Balth.  Peruzzipinx. 

Adoration  of  the  Magi.     Marco  del  Moro. 

Mocking  of  Christ.     Vesp.  Strada,  pinx. 

The  Dead  Christ  supported  by  an  Angel.      The  same. 

Nativity  of  the  Virgin.     And.  del  Sarto. 

The  Virgin  crowned  by  the  Trinity.    A.  Mostaert. 

The  Holy  Family.     Fed.  Baroccio. 

^neas  carrying  his  Father.      The  same. 

Holy  Family  with  S.  Michael.     L.  Sabbatini. 

The  Virgin  with  a  crescent,  and  the  Child  giving  the  Benediction. 
The  same. 

The  Virgin  and  Child,  with  several  Saints.     Giulio  Campi. 

S.  Paul  resuscitating  Eutychus.     Antonio  Campi. 

The  Holy  Family.     B.  Passeri. 

The  Virgin ;  half  length.     Giacomo  Francia. 

S.  Sebastian.     Francesco  Francia. 

The  Virgin  suckling  the  Child.     Gio.  Ligozzi. 

S.  Jerome;  half  length.     Vanni. 

Engraver,  CORNEILLE,  Michel  the  Younger.   The  Virgin  and  Child. 

Engraver,  CUNEGO,  Domenico.     Galatea,  from  the  Farnese  Gall. 

Kiif/moer,  FARIAT  or  FARJAT,  Benoit.  The  Marriage,  or  the 
Crowning  of  S.  Catherine, 

Engraver,  GALLK,  Cornelius  the  Elder.  Venus  bound  to  a  Tree, 
and  Minerva  chastising  Cupid. 

Engraver,  GATTI,  Oliviero.     S.  Jerome  with  a  Crucifix. 

Engraver,  GREEN,  Valentine.     Veiius  and  Cupid. 

Engraver,  LORENZINI,  Fra  Antonio.     The  Virgin  and  Child. 

Engraver,  MATTIOU,  Ludovico.     The  Nativity. 

Engraver,  PERKIER,  Frai^ois.  Communion  of  S.  Jerome.  Flight 
into  Egypt. 

Engraver,  RAVENET,  Simon  Francis.    Tobit  anointing  his  father's 

eyes. 

Hut/raver,  TORRE,  Flaminio.     Pan  conquered  by  Cupid;  very  fine. 
Engraver,  TRABALLESI,  Giulio.     Communion  of  S.  Jerome. 
Engraver,  VANGELISTI,  Vincenzio.     Venus  chastising  Cupid. 

Carracci,  Annibale,  born  at  Bologna  (1560-1609). 
The  most  distinguished  of  his  family.  His  earlier  works 
evidence  his  study  of  Correggio  and  Paul  Veronese;  but 
after  he  went  to  Rome  he  developed  new  power  under  the  influence 
of  the  antique,  and  of  Michael  Angelo  and  Raphael.  Although  his 
pictures  often  fail  to  please,  it  is  impossible  not  to  recognize  in  them 
the  genius  of  a  great  master.  Those  in  the  Farnese  Pal.  were  his 
last  important  works.  lie  painted  landscapes  as  well  as  historical 

e 

T"t  XT  Y  \7  T?  T>  C!  T  m  17 


194 


CARHACCI. 


subjects,  and  in  some  cases  the  attention  is  much  divided  between  his 
figures  and  the  background.  His  pictures  are  very  numerous  and  are 
in  almost  all  good  collections.  It  is  said  that  he  painted  very  little 
during  the  last  five  years  of  his  life.  He  died  at  Rome,  and  was  bur- 
ied in  the  Pantheon,  near  Raphael.  Annibale  excelled  in  small  com- 
positions of  the  Madonna  and  Holy  Families.  His  "  Three  Ma- 
ries "  is  very  fine,  and  full  of  deep  pathos  in  its  expression  of  sor- 
row. But  his  Farnese  pictures  are  generally  considered  his  greatest 
works,  and  are  a  good  example  of  the  school  of  the  Carracci. 

i BBiin/r 


VENUS  &ND   MARS.      BY    ANNIBALE  CAKKACCI. 

In  the  Farnese  Pal.,  Rome. 
ENGRAVINGS   AFTER   THE  WORKS   OF   ANNIBALE   CARRACCI. 

Engraver,  AUDENAERDE  or  OUDENAERDE,  Robert  Van.  The 
Birth  of  the  Virgin. 

Engraver,  AUDRAN,  Charles.     The  Baptism  of  Christ;  small  oval. 

Engraver,  AUDRAN,  Gerard.  The  Death  of  S.  Francis.  Martyr- 
dom of  S.  Sebastian.  Achilles  at  the  court  of  Lycomedes.  Tempta- 
tion of  S.  Anthony. 

Engraver,  AUDRAN,  John.    The  Good  Samaritan;  arched. 

Engraver,  BARTOLI,  Pietro  Sante.  The  Family  of  Coriolanus  at 
his  Feet.  S.  Charles  Borromeo  led  by  an  Angel. 

Engraver,  BARTOLOZZI,  Francesco.   Portrait  of  Annibale  Carracci. 

Engraver,  BAUDET,  Stephen.  The  Dead  Christ  on  the  Lap  of 
the  Virgin;  The  Stoning  of  Stephen;  1677. 

Engraver,  BRIZZIO  or  BRICCIO,  Francesco.     A  Blind  Man  led 
a  Dog. 


by 


CARRACCI.  195 

His  own  Plates. 

The  Virgin  suckling  the  Child;  oval. 

The  Virgin  supporting  the  Head  of  the  Child  sleeping. 

The  Virgin  and  Child,  and  S.  John  presenting  a  Bird. 

The  Virgin  seated,  the  Child  standing. 

Adoration  of  the  Shepherds. 

The  Virgin  of  the  Porringer  giving  Drink  to  S.  John.     1606. 

A  Dead  Christ,  called  the  Christ  of  the  Caprarole.     1597. 

Christ  crowned  with  Thorns;  A.  C.  inv.  etfec.     1606. 

S.  Jerome  with  Spectacles. 

S.  Francis  with  the  Crucifix  and  Skull. 

S.  Francis  kneeling  at  the  foot  of  a  Rock. 

S.  Petronius  kneeling. 

Apollo  playing  the  Lyre,  with  Pan. 

An  Old  Man  with  two  other  Figures. 

Venus  sleeping,  with  Cupid  and  a  Satyr. 

Venus  sleeping,  contemplated  by  a  Satyr,  menaced  by  Cupid. 

Silenus,  a  Faun,  and  Satyr,  called  the  Cup  of  Annibale. 

The  Triumph  of  Bacchus,  a  Salver  to  the  Cup  ;  both  very  scarce. 

Acis  and  Galatea,  with  a  Satyr. 

Susanna  and  the  Elders ;  very  scarce. 

Engraver,  CESI  or  CESIO,  Carlo.  Forty-one  plates  from  the  Far- 
nese  Gall. 

Engraver,  CHATEAU  or  CHASTEAU,  William.  The  Stoning  of 
Stephen.  Assumption  of  the  Virgin.  Christ  appearing  to  S.  Peter. 

Engraver,  CORNEILLE,  Michel  the  Younger.  Jacob  wrestling  with 
the  Angel.  S.  John  preaching  in  the  Desert.  S.  Jerome.  S.  Francis 
receiving  the  Stigmata.  Silenus,  a  Satyr,  and  Faun.  Abraham  send- 
ing away  Hagar. 

Engraver,  CORNEILLE,  Michel  the  Younger.  S.  John  in  the  Wil- 
derness. Christ  with  the  Samaritan  Woman. 

Engraver,  CUNEGO,  Domenico.     Apollo  and  Silenus. 

Engraver,  DUPUIS,  Nicholas  Gabriel.  The  Virgin  and  Child,  with 
Saints. 

Engraver,  EARLOM,  Richard.     Christ  curing  the  Blind. 

Engraver,  FANTETTI,  Cesare.     Charity,  with  three  Children. 

Eiujraver,  FARIAT  or  FARJAT,  Benoit.  The  Virgin  and  Child, 
with  S.  John  presenting  Fruit. 

Engraver,  GALESTRUZZI,  Gio.  Batista.  Mercury  giving  the 
Golden  Apple  to  Paris. 

Engraver,  GRIMALDI,  Gio.  Francesco.  Two  upright  Landscapes. 
A  set  of  four  Landscapes. 

Engraver,  HAINZELMANN,  Elias.  The  Virgin  and  S.  John,  with 
the  Child  sleeping,  called  "  The  Silence." 


196  CARRACCI  —  CARRENO. 

Engraver,  HAINZELMANN,  John.  The  Child  embracing  the 
Virgin. 

Engraver,  LANGLOIS,  John.     Tobit  and  the  Angel. 

Engraver,  LASNE,  Michael.     The  Virgin,  called  "The  Silence." 

Engraver,  LOMBARD  or  LOMBART,  Peter.     The  Virgin  and  Child. 

Engraver,  MANNL  or  MAENNL,  Jacob.     Susanna  and  the  Elders. 

Engraver,  MATTIOLI,  Ludovico.  Christ  and  the  Woman  of  Sa- 
maria. 

Engraver,  MICHEL,  John  Baptist.     Clytie;  circular. 

Engraver,  MITELLI,  Giuseppe  Maria.  The  Cries  of  Bologna;  41 
prints. 

Engraver,  PASQUILINI,  Gio.  Batista.     S.  Diego  working  a  Miracle. 

Engraver,  PICCHIANTI,  Gio.  Domenico.  The  Virgin  and  Child 
with  S.  John. 

Engraver,  Po,  Pietro  del.  S.  John  in  the  Wilderness.  The 
Woman  of  Canaan  before  -Christ.  The  Dead  Christ  on  the  Lap  of 
the  Virgin. 

Engraver,  POILLY,  Francis  the  Elder.  The  Repose  in  Egypt,  in 
which  the  Virgin  is  sleeping,  with  two  Angels  kneeling. 

Engraver,  RENI,  Guido.  Holy  Family,  with  S.  Clara.  The  Vir- 
gin suckling  the  Child.  The  Charity  of  S.  Roch  ;  1610. 

Engraver,  Rossi,  Girolamo,  called  De  Rubeis  the  Elder.  S.  Charles 
Borromeo  kneeling  before  a  Crucifix. 

Engraver,  ROULLET,  John  Louis.  The  three  Maries  with  the 
Dead  Christ;  very  fine.  The  Virgin  and  Child. 

Engraver,  ROUSSEAU,  James.  The  Repose  in  Egypt.  S.  John 
baptizing  the  people  of  Israel. 

Engraver,  SCARAMUCCIA,  Luigi.    Venus  and  Adonis.  The  Virgin. 

Engraver,  SCHMIDT,  George  Frederick.  Alexander  and  his  Phy- 
sician. Timocleus  justified  by  Alexander. 

Engraver,  SHARP,  William.  The  three  Maries  and  Dead  Christ; 
plate  left  unfinished. 

Engraver,  SIMONEAU,  Charles.  The  Adoration  of  the  Shepherds. 
Christ  and  the  Woman  of  Samaria. 

Engraver,  VORSTERMAN,  Lucas  the  Elder.  Christ  praying  in  the 
Garden. 

Engraver,  WOOLLETT,  William.  A  Landscape  with  figures  and 
a  waterfall. 

Carre*  or  Carrey,  Michael,  born  at  Amsterdam  (1666-1728?).  A 
landscape  and  cattle  painter.  His  works  resemble  those  of  Van  der 
Leeuw  more  than  those  of  Nicholas  Berghem,  with  whom  he  is  said 
to  have  studied.  He  was  employed  by  the  King  of  Prussia,  and  ap- 
pointed one  of  his  principal  painters.  His  easel  pictures  are  seen  in 
many  collections,  and  are  very  good. 

Carreno,  as  he  is  commonly  known,  was  a  native  of  Aviles  (1614- 
1685).  His  whole  name  was  Juan  Carrciio  de  Miranda.  His  parents 


CARRENO  —  CARSTENS.  197 

were  of  noble  families,  and  the  Carrenos  had  been  eminent  among  the 
knights  of  Spain  for  nearly  three  centuries  before  his  time.  Juan 
learned  to  draw  in  the  school  of  Pedro  de  las  Cuevas,  and  to  use 
colors  in  that  of  Bartolome  Roman.  Before  the  death  of  Philip  IV., 
he  was  appointed  one  of  his  court  painters ;  and  when  the  king  asked 
Colonna  whom  he  considered  the  first  painter  of  Madrid,  the  Bo- 
lognese  replied  in  favor  of  Carreno.  Before  he  was  called  to  court,  he 
had  painted  many  pictures  for  the  churches  and  convents  of  Madrid, 
and  had  acquired  a  good  reputation  in  the  city.  In  1665  he  was  em- 
ployed in  the  Cath.  of  Toledo;  and  in  1671  had  so  advanced  in  the 
favor  of  Charles,  the  young  king,  that  he  made  him  painter  in  ordi- 
nary and  deputy  Aposentador,  and  gave  him  the  cross  of  Santiago. 
He  would  allow  no  other  artist  to  paint  his  likeness  without  the  con- 
sent of  Carreno;  and  the  portraits  of  this  artist  were  so  well 
considered,  that  most  of  the  eminent  men  of  his  time  desired  to 
possess  them.  He  deserved  all  his  good  fortune.  His  drawing  was 
correct,  his  color  harmonious,  his  portraits  easy  and  truthful,  and  his 
religious  compositions  were  highly  esteemed.  He  was  good-tempered 
and  affable,  and  much  regretted  by  all  who  knew  him.  Some  anec- 
dotes are  told  of  him,  and  it  is  said,  that  being  one  day  in  a  house 
where  a  copy  of  Titian's  u  S.  Margaret "  hung  upon  the  wall,  a  discus- 
sion arose  as  to  who  had  painted  it.  Every  one  declared  it  abom- 
inable. Carreno  said,  "  It  at  least  has  the  merit  of  showing  that  no 
man  need  despair  of  improving  in  art,  for  I  painted  it  myself  when 
I  was  a  beginner."  It  happened  at  one  time  that  Grcgorio  Utande, 
a  poor  artist,  had  painted  a  "  Martyrdom  of  S.  Andrew  "  for  the  Car- 
melite nuns  of  Alcala,  for  which  he  demanded  100  ducats.  The 
nuns  refused  to  pay  it,  and  desired  to  have  the  picture  valued  by 
Cunvfio.  Accordingly  Utande  proceeded  to  the  capital,  and  first 
presented  Carreno  with  a  jar  of  honey,  and  then  begged  him  to  re- 
touch his  S.  Andrew.  Carreno  consented,  and,  in  fact,  repainted 
the  picture.  A  short  time  after,  he  was  astonished  at  being  asked  to 
value  the  same ;  he  declined,  and  it  was  left  to  Herrera-Barnuevo, 
who  called  it  worth  200  ducats.  Utande,  after  receiving  his  money, 
told  of  his  trick,  and  the  work  was  known  as  la  Cantarilla  de  MieL 
Tin-  Queen  of  Spain's  Gall,  has  several  portraits  by  Carreno,  among 
which  is  that  of  Bishop  Potemkin,  the  ambassador  of  the  Czar  of 
Muscovy,  who,  with  his  long  beard  and  red  robes,  was  a  subject  to 
please  an  artist.  There  is  also  a  curious  study  of  a  female  dwarf, 
with  an  apple  in  each  hand,  and  a  gaudy,  flowered  robe. 

Camera.     Sec  Rosalba. 

Cars,  Laurence,  born  at  Lyons  (1702  ?-1771).  One  of  the  best 
French  designers  and  engravers  of  the  18th  century.  His  best 
works  are  after  Le  Moine;  and  that  of  "  Hercules  and  Omphale  "  is 
his  chcf-d' 'ceuvre.  He  left  many  plates. 

Carsteiis,  Asmus  Jacob,   bom  in    Schleswig    (1754-1798).     A 


198  CARSTENS  —  CASSANA. 

great  lover  of  Michael  Angelo  and  classic  art.  He  gave  a  new  im- 
pulse to  German  artists,  and  his  fine  paintings  and  drawings  did  much 
in  their  noble  simplicity  to  cast  off  mechanical  drowsiness,  and 
arouse  his  countrymen  to  the  poetic  sentiment  which  now  distin- 
guishes them. 

Carucci,  Jacopo,  called  Pontormo,  f rom  his  birthplace  (1493-1558). 
After  studying  under  other  masters  he  entered  the  school  of  Andrea 
del  Sarto,  who,  from  jealousy  of  his  fine  powers,  expelled  him  from 
his  academy.  In  his  large  works  he  disappointed  the  expectations 
founded  on  his  youthful  promise,  but  he  excelled  as  a  portrait  painter. 
There  are  good  portraits  of  him  in  the  Berlin  Mus. ,  and  in  the  Uffizi 
one  of  Cosmo  dei  Medici,  which  is  vivid  in  color.  In  the  National 
Gall,  there  is  a  portrait  by  him  of  a  young  Italian  nobleman,  which  is 
very  fine. 

Casalina,  Lucia,  born  at  Bologna  (1677-1 762).  A  very  successful 
portrait  painter.  Her  own  likeness  painted  by  herself  is  in  the  Flor- 
entine Gall. 

Casanova,  Francesco,  born  in  London  (1732-1805).  Son  of  Ve- 
netian parents,  he  was  early  placed  under  the  instruction  of  Guardi. 
He  painted  battles,  landscapes,  and  animal  subjects.  He  was  ad- 
mitted to  the  French  Acad.,  and  settled  in  Vienna.  Two  of  his  large 
battle  pieces  are  in  the  Louvre. 

Casentino,  Jacopo  di,  born  at  Prato  Vecchio  (1310  7-1390  ?).  A 
relative  of  the  family  of  Messer  Christoforo  Landino.  He  acompa- 
nied  Taddeo  Gaddi  to  Florence.  He  painted  many  frescoes,  of  which 
few  remain,  and  was  an  architect  as  well  as  a  painter.  He  is  worthy 
of  notice  as  one  of  the  founders  of  the  Florentine  Acad.  of  S.  Luke.  In 
the  National  Gall,  there  is  an  altar-piece  by  him,  formerly  in  the  ch» 
of  S.  Giovanni  Evangelista  at  Prato  Vecchio.  It  has  22  compart- 
ments, and  represents  the  old  legend  of  the  lifting  of  the  Evangelist 
to  heaven.  It  was  probably  the  chef-d'oeuvre  of  Casentino.  No.  1 29 2, 
Uffizi,  is  also  his  work,  and  is  a  predella,  representing  a  religious  cere* 
mony  in  the  centre,  with  side  pictures  from  the  life  of  S.  Peter.  It 
is  better  painted  than  the  National  Gall,  picture. 

Casolani,  Alessandro,  born  at  Siena  (1552-1606).  A  reputable 
painter  of  history,  whose  works  may  be  seen  in  the  churches  of 
Siena,  and  also  at  Naples  and  Genoa. 

Casolani,  Ilario,  son  of  the  preceding.  Several  of  his  works  are 
in  the  churches  of  Rome,  where  he  died  in  middle  life. 

Cassana,  Gio.  Francesco,  born  at  Genoa  (1611-1691).  A 
painter  of  history  and  portraits ;  in  the  latter  he  excelled.  He  was 
the  father  of  a  family  of  artists  who  were  all  of  good  reputation. 
Niccolo  was  an  excellent  portrait  painter,  and  went  to  England  in 
Queen  Anne's  time.  He  painted  her  portrait,  and  those  of  many 
nobles.  He  died  in  London,  in  1713.  Abate  Gio.  Agostino  painted 
animals,  and  his  works  are  in  the  collections  of  Genoa,  Venice,  and 


CASSANA  —  CASTIGLIONE.  199 

Florence;  died  1720.  Gio.  Batista  painted  fruit,  flowers,  and  still 
life.  Maria  Vittoria  executed  small  devotional  subjects  for  private 
collections,  and  her  works  were  much  esteemed;  died  1711. 

Cassteels,  Peter,  born  at  Antwerp  (1684-1749).  A  successful 
painter  of  flowers,  birds,  fruit,  etc.  He  also  engraved  some  plates 
which  are  not  without  merit. 

Castagno,  Andrea  del,  born  at  Castagno  (1390-1457).  The 
name  of  this  painter  has  been  loaded  with  infamy  as  the  murderer  of 
Domenico  Veneziano,  from  whom  it  is  said  he  had  learned  the  secret 
of  oil-painting,  and  killed  him  that  he  might  be  the  sole  possessor  of 
this  knowledge.  But  of  this  crime  he  could  scarcely  have  been  guilty, 
since,  according  to  Signor  Gaetano  Milanesi,  he  died  three  years 
before  Domenico !  (See  Giornale  Stor.  ub.  sup.  pp.  6,7).  As  a 
painter  he  is  a  coarse  and  exact  imitator  of  nature,  rather  than  the 
follower  of  any  school.  Some  of  his  works  show  the  study  of  the 
antique;  his  colors  were  used  with  a  dash,  but  his  flesh  tints  were 
not  good;  his  figures  are  bold  in  outline  and  full  of  action.  He 
painted  for  the  Cath.  of  S.  M.  del  Fiore  at  Florence  a  picture  of  S. 
Niccolo  di  Tolentino,  intended  to  represent  an  equestrian  statue. 
It  was  a  remarkable  work.  It  has  been  transferred  to  canvas,  and 
hangs  in  the  cathedral.  Besides  his  pictures  in  various  places  in  Flor- 
ence, there  are  two  in  the  Berlin  Mus. 

Castelli,  or  Castello,  Bernardo,  born  at  Genoa  (1557-1629).  In 
his  desire  to  acquire  facility  of  execution,  he  fell  into  many  faults. 
His  works  may  be  seen  in  Genoese  churches,  and  at  S.  Peter's  at 
Rome  there  is  one  representing  "  S.  Peter  walking  on  the  Sea."  He 
lived  in  intimacy  with  the  cultivated  and  literary  men  of  his  time. 
He  excelled  as  a  miniaturist,  and  was  praised  for  his  manner  of  paint- 
ing insects. 

Castelli,  Valeric,  born  at  Genoa  (1625-1659).  Son  of  the  pre- 
ceding. He  was  a  good  painter.  His  sacred  subjects  are  in  the 
churches  of  Genoa,  and  his  battle  pieces  in  the  palaces  of  that  city. 

Castelli,  Gio.  Battista,  called  II  Bergamasco,  born  at  Gandino 
(1500-1570).  In  his  youth  he  attracted  the  attention  of  one  of  the 
Pallavicini  at  Genoa,  who  sent  him  to  Rome,  where  he  became  pro- 
ficient in  architecture  and  sculpture,  as  well  as  painting.  After  his 
return  to  Genoa,  he  painted  in  rivalry  with  Luca  Cambiaso.  Castelli 
was  the  more  successful  one.  In  1567  he  was  invited  to  Spain  by 
Charles  V.,  and  received  a  salary  of  300  crowns,  besides  payment  for 
his  work.  He  designed  the  grand  staircase  in  the  Escorial,  and 
executed  several  ceilings  in  the  Palace  of  Madrid,  in  which  city 
he  died. 

Castello.  There  are  several  other  artists  of  this  name,  whose 
works  are  occasionally  seen  in  churches  and  galleries. 

Castiglione,  Gio.  Benedetto,  born  at  Genoa 
(1616-1670).  Painted  landscapes  in  which  he  intro- 
duced animals,  and  sometimes  figures.  He  met  Van- 


20.0  CASTIGLIONE  —  CATLIN. 

dyck  in  Genoa  and  received  some  instructions  from  him,  the  influence 
of  which  may  be  traced  in  his  works.  Sometimes  he  painted  re- 
ligious subjects  with  great  tenderness.  There  are  a  few  studies  of 
animals  on  paper  by  this  artist,  which  are  surprisingly  good.  As  an 
engraver,  he  deserves  notice,  having  left  more  than  seventy  plates 
etched  with  power,  and  in  light  and  shade  resembling  Rembrandt  and 
Delia  Bella.  He  used  the  graver  but  little.  His  son  Francesco,  and 
his  brother  Salvatore,  were  his  pupils  and  imitators,  but  never 
equalled  him. 

Castillo  Juan  del,  born  at  Seville  (1584-1640).  Pupil  of  Luis 
Fernandez  and  teacher  of  Murillo,  Alonso  Cano,  and  Pedro  de  Moya. 
He  was  a  distinguished  painter  of  historical  subjects. 

Castillo  y  Saavedra,  Antonio  del,  born  at  Cordova  (1626-1667). 
Studied  first  with  his  father,  and  then  at  the  school  of  Zurbaran  at 
Seville.  He  painted  portraits,  sketched  from  nature,  made  archi- 
tectural drawings,  and  executed  models  for  the  silversmiths  at  Cor- 
dova. After  his  return  from  Seville,  he  became  the  fashionable 
painter  of  his  city,  and  his  portraits  were  sought  by  all  persons  of 
pretension.  Flattered  by  this  homage,  he  desired  to  win  reputation 
in  a  wider  field,  and  went  again  to  Seville.  He  was  kindly  received 
by  the  artists  there,  but  foolishly  praised  his  own  works,  at  the  ex- 
pense of  theirs.  When,  however,  he  was  led  to  the  cathedral  to  see 
the  works  of  Murillo,  he  was  overpowered  by  their  splendor,  and  ex- 
claimed, "  Castillo  is  dead."  He  returned  to  Cordova  and  attempted 
to  imitate  his  rival,  but  soon  sickened  and  died,  a  victim  to  his  con- 
viction of  inferiority;  in  the  same  way  as  Francesco  Francia,  a  cen- 
tury and  a  half  before,  is  said  to  have  died  of  the  S.  Cecilia  of  Ra- 
phael. Castillo  was  a  man  of  cultivation  and  wit.  His  pupil,  Juan 
de  Alfaro,  visited  Madrid,  and  returned  puffed  up  with  his  knowledge 
of  art.  He  signed  his  pictures  conspicuously,  "  Alfaro  pinxit;  " 
whereupon  Castillo  inscribed  his  "Baptism  of  S.  Francis,"  "  NOD 
pinxit  Alfaro."  Most  of  his  works  are  in  the  churches  and  convents 
of  Cordova.  The  Royal  Gall,  at  Madrid  has  but  one  —  the  "  Adora- 
tion of  the  Shepherds  ' '  —  which  has  strong  lights  and  shadows,  effec- 
tive heads,  is  well  drawn,  but  dry  and  disagreeable  in  color. 

Catena,  Vinceiizo,  born  in  the  Venetian  States  (1495  ?-1531). 
Real  name  Vincenzo  di  Biagio.  He  was  a  most  industrious  artist, 
but  had  no  great  talent.  One  of  the  school  of  the  Bellini,  of  whom 
he  was  a  close,  if  not  a  servile  imitator.  His  best  works  were  his 
portraits,  some  of  which  are  fine.  Many  of  his  pictures  are  in  Venice, 
and  they  are  also  found  in  nearly  all  large  collections  in  Europe.  He 
left  several  wills  and  codicils,  and  considerable  property. 

Catlin,  George,  born  in  Wyoming  Valley,  Pennsylvania  (1794- 
1872).  He  first  studied  law,  but  afterwards  devoted  himself  to 
painting.  He  spent  eight  years,  1832-1839,  among  the  American 
Indians,  and  made  the  acquaintance  of  forty-eight  different  tribes. 


CATLIN  —  CAXES.  201 

He  made  many  drawings  illustrative  of  their  manners  and  mode  of 
life,  and  painted  two  hundred  portraits  of  the  most  prominent  chiefs 
and  warriors.  His  gallery  was  exhibited  in  this  country  and  in  Eu- 
rope, and  attracted  much  attention.  His  letters  concerning  this  tour 
were  published  in  1841  ;  he  published  also  the  "  North  American 
Portfolio  of  Hunting  Scenes,"  1844;  "  Notes  of  Eight  Years'  Travel 
and  Residence  in  Europe,"  1848;  "Life  among  the  Indians,"  and 
"  Okeepah,"  1867.  His  first  book  had  over  300  steel-plate  engrav- 
ings from  his  own  designs.  His  books  remain  the  most  authentic,  as 
well  as  the  most  entertaining  account  we  have  of  the  wild  tribes 
which  he  visited. 

Cavallini,  Pietro.  Very  little  is  positively  known,  and  much  has 
been  conjected  of  this  artist.  It  is  certain  that  in  1308  he  was  em- 
ployed by  Robert  of  Naples,  but  his  works  of  that  time  do  not  exist, 
or  are  unknown.  He  was  a  pupil  or  follower  of  Giotto,  and  had  prob- 
ably been  instructed  by  the  Cosneati.  At  S.  Grisogono,  at  Rome, 
there  is  a  mosaic,  undoubtedly  his,  which  represents  the  Virgin  en- 
throned, with  the  Child  giving  the  benediction;  SS.  James  and  Chry- 
sogonus  are  also  in  the  same  work.  In  S.  Maria,  in  Trastevere, 
there  are  some  wall  mosaics,  much  damaged,  probably  by  the  same 
hand  as  the  above.  He  was  an  architect,  as  well  as  a  painter  and 
worker  in  mosaics.  There  is  a  u  Crucifixion  "  in  the  ch.  of  Assisi  at- 
tributed to  him,  but  of  this  there  is  still  some  doubt. 

Cavallino,  Bernardo,  born  at  Naples  (1622-1654?).  An  artist 
who  painted  easel  pictures  of  historical  subjects,  which  may  be  seen 
in  the  collections  of  Naples.  He  gave  promise  of  great  excellence, 
and  indeed  his  works  have  much  merit,  but  he  became  intemperate 
and  died  young. 

Cavallucci,  Antonio,  born  at  Sermoneta  (1752-1795).  A  good 
painter  of  the  modern  Roman  school.  His  most  celebrated  work  is 
"Venus  with  Ascanius,"  Palazzo  Cesarini,  Rome. 

Cavarazzi,  Bartolomeo,  called  Crescenzi,  born  at  Viterbo 
(1590  ?-1625).  Studied  under  Pomerancio.  When  he  left  his  mas- 
ter he  was  taken  under  the  protection  of  the  family  Crescenzi.  He 
painted  many  pictures  for  his  patron,  and  was  much  employed  in  the 
public  edifices  at  Rome.  In  the  ch.  of  S.  Ursula  he  represented  the 
legend  of  that  saint.  In  S.  Andrea  della  Valle  is  his  picture  of  S. 
Carlo  kneeling  with  a  choir  of  angels ;  and  in  the  convent  of  S.  Anna, 
a  "Holy  Family." 

Cavedone,  Giacomo.  A  Modenese  (1577-1660).  A  pupil  of 
Annibale  Carracci,  whom  he  bid  fair  to  rival,  for  some  of  his  pictures 
painted  in  middle  life  were  mistaken  for  those  of  his  master.  But 
through  family  misfortune  he  became  depressed,  relinquished  his  art, 
and  died  a  beggar  in  the  streets  of  Bologna.  His  best  works  are  in 
the  public  edifices  and  Gall,  of  that  city. 

Gazes,  Patricio.     An  Italian  painter  who  spent  many  years  in 


202  c  AXES  —  CELLINI. 

Spain.  Few  of  his  works  remain,  for  many  of  them  were  burned  in 
the  Pardo.  In  the  Queen  of  Spain's  Gall.,  there  is  a  large  Madonna 
with  the  Child  asleep  on  her  lap,  surrounded  by  adoring  angels. 

Caxes,  Eugenic.  Son  of.  the  preceding,  born  at  Madrid  (1577- 
1642).  Court  painter  to  Philip  III.  and  Philip  IV.  Much  employed 
in  the  churches,  convents,  and  edifices  of  Madrid  ;  many  of  his  works 
perished  in  the  Pardo  and  the  Convent  of  S.  Philippi.  Queen  of 
Spain's  Gall.,  "  Repulse  of  the  English  under  Leicester,  at  Cadiz, 
in  1625." 

Caylus,  Anne  Claude  Philippe,  Comte  de  (1692-1765).  An 
amateur  engraver.  He  was  a  zealous  lover  of  art,  and  did  so  much 
for  its  advancement,  and  for  the  service  of  artists,  that  his  name  de- 
serves honorable  mention  in  any  work  referring  to  the  fine  arts. 

Celesti,  Andrea,  born  at  Venice  (1637-1706).  One  of  the  best 
painters  of  the  Venetian  decline.  He  imitated  Paul  Veronese.  His 
lights  and  shadows  are  better  than  his  middle  tints,  but  this  may 
arise  from  his  backgrounds  not  having  been  properly  prepared.  His 
works  can  be  well  judged  in  the  Dresden  Gall.  He  painted  views  of 
Venice  and  other  Italian  cities,  which  are  rare  and  of  much  value. 

Cellini,  Benvenuto,  born  at  Florence  (1500-15  70).  The  life  of  this 
great  sculptor  was  so  full  of  change  and  incident,  that  his  story  is  one 
of  the  most  interesting  books  of  its  class.  Very  early  in  life  he  de- 
sired to  be  a  sculptor,  but  his  father  was  determined  he  should  be  a 
musician ;  and  his  first  fifteen  years  were  divided  between  the  two  pur- 
suits. Then,  against  the  will  of  his  father,  the  son  established  him- 
self with  a  goldsmith.  His  temper  constantly  led  him  into  difficul- 
ties. On  account  of  an  affray  he  went  to  Siena,  then  to  Rome,  and 
then  returned  to  Florence.  Again,  for  the  same  reason,  he  went  to 
Rome,  and  Pope  Clement  VII.  employed  him  both  as  sculptor  and 
musician.  He  tells  us  that  he  was  a  good  soldier,  and  claims  to  have 
killed  the  Constable  Duke  of  Bourbon  and  the  Prince  of  Orange  while 
fighting  in  defence  of  Rome.  He  returned  after  a  time  to  Florence, 
and  from  there  went  to  Mantua,  which  he  was  soon  obliged  to  flee 
on  account  of  some  indiscretion.  He  became  known  to  Michael 
Angelo  in  Florence.  By  invitation  of  the  Pope  he  went  again  to 
Rome,  and  was  appointed  engraver  of  the  mint ;  but  Pompeo  of  Milan, 
who  was  his  enemy,  obtained  his  dismission  from  office.  About 
this  time  his  mistress,  Angelica,  deserted  him,  and  he  spent  much 
time  with  a  necromancer,  who  told  him  she  had  gone  to  Naples. 
He  was  engaged  in  another  quarrel,  and  this,  united  to  the  influence 
of  Pompeo,  determined  the  Pope  to  arrest  him  and  have  him  imme- 
diately executed.  He  was  informed  of  this  design,  and  fled  to  Na- 
ples, where  he  met  Angelica  as  had  been  foretold.  She  again  de- 
ceived him ;  and  although  the  Viceroy  desired  his  services,  he  would 
not  remain.  He  obtained  the  pardon  of  the  Pope,  and  again  went  to 
Rome.  In  1534  the  Pope  died,  and  as  Cellini  was  returning  from  S. 


CELLINI  —  CERACCHi.  203 

Peter's,  where  he  had  been  to  kiss  the  feet  'of  his  dead  patron,  he 
met  Pompeo  and  killed  him.  Paul  III.  desired  his  services,  so  he 
pardoned  him  and  again  made  him  engraver  of  the  mint.  Pier  Luigi, 
the  natural  son  of  the  Pope,  hated  him  and  determined  to  have  him 
assassinated.  He  learned  this  and  fled  again  to  Florence,  where  he 
was  received  with  much  honor.  But  soon  the  Pope  summoned  him 
to  Rome  ;  and  after  going  there  and  again  returning  to  Florence,  and 
again  to  Rome,  he  determined  to  visit  France.  Francis  I.  made  him 
great  offers  if  he  would  remain ;  but  he  was  ill,  and  attributed  it  to 
the  climate.  So  again  he  went  to  Rome  only  to  meet  misfortune, 
for  his  servant  accused  him  of  having  stolen  vast  treasures  from  the 
Castle  of  S.  Angelo  during  the  war.  This  was  utterly  false,  but  he 
was  imprisoned,  and  made  his  escape.  Again  he  was  apprehended 
and  treated  with  great  severity.  While  in  prison  his  release  was 
foretold  to  him  in  a  vision.  His  friend,  the  Card,  of  Ferrara,  ob- 
tained his  pardon,  and  they  went  together  to  Paris.  The  salary  pro- 
posed to  him  did  not  please  him,  and  he  set  out  on  a  pilgrimage  to 
Jerusalem.  Francis  I.  sent  in  pursuit  of  him  and  he  was  brought 
back.  The  king  would  have  been  his  friend  but  for  the  influence  of 
the  favorite,  Mme.  d'Estampes,  who  disliked  Cellini.  He  obtained 
permission  to  return  to  Florence,  and  Cosmo  de'  Medici  gave  him  a 
studio  where  he  commenced  his  celebrated  "Perseus."  He  then 
went  to  Venice  where  he  became  acquainted  with  many  distinguished 
artists.  Returning  to  Florence  he  finished  the  "Perseus."  This 
obtained  such  great  honors  for  him  that  he  made  a  pilgrimage  to 
Vallombrosa  and  Camaldoli  in  order  to  express  his  gratitude.  He 
was  then  employed  on  various  important  works,  and  contended  with 
Bandinellj  for  the  commission  of  a  statue  of  Neptune.  Catherine  de' 
Medici  wished  him  to  go  to  France  to  erect  a  monument  to  her  hus- 
band, but  the  Grand  Duke  required  his  services,  and  he  left  Italy  no 
more.  His  "  Perseus,"  in  the  Piazza  del  Gran  Duca,  Florence,  dis- 
plays his  merit  as  a  sculptor  of  large  works.  He  executed  many 
portraits,  and  large  numbers  of  dagger-hilts,  medals,  coins,  clasps,  etc. 
His  works  are  not  as  numerous  now  as  might  be  expected.  One 
great  reason  for  this  is  the  fact  that  he  often  worked  in  the  precious 
metals,  and  they  have  been  destroyed  for  the  sake  of  their  intrinsic 
value,  regardless  of  their  merits  as  works  of  art.  He  wrote  a  treatise 
on  his  ;irt,  which  is  praised  by  Vasari.  He  died  at  Florence  and 
was  buried  in  the  Anmmziata  with  great  pomp. 

Cephisodotus,  the  Elder.  A  sculptor  of  Athens.  Probably  the 
father  of  Praxiteles.  In  the  Glyptothek  at  Munich  there  is  a  copy  of 
a  statue  by  this  master  which  represents  Irene  with  Plutus  in  her 
arms.  The  forms  are  grand,  the  drapery  admirable,  and  the  whole 
expression  noble.  This  artist  represents  the  transition  period  between 
the  severe,  and  sublime  art  of  Phidias  and  the  grace  of  Praxiteles. 

Ceracchi,  Joseph   (1760-1800).      He  had  an  eventful  life.    In 


204  CERACCHI  —  CESPEDES. 

1782  he  was  in  London,  and  made  some  excellent  busts  of  distin- 
guished men.  But  not  finding  sufficient  employment,  he  went  in 
1 790  to  Vienna.  Soon  after  this  he  met  Napoleon,  and  executed  his 
bust  so  well  that  he  was  invited  to  Paris,  where  he  was  guillotined, 
in  1800,  on  account  of  the  part  which  he  had  taken  in  the  invention 
of  the  Hell-machine.  The  bust  of  Napoleon  is  in  the  Glyptothek  at 
Munich;  that  of  Metastasio  is  in  the  Pantheon  at  Rome.  One  of  his 
best  works  was  the  bust  of  Prince  Weuzel  von  Kaunitz,  which  he 
executed  at  Vienna. 

Cerano,  II.     See  Crespi. 

Cerezo,  Matteo,  born  at  Burgos  (1635-1675).  An  excellent  pupil 
of  Carreno.  He  was  called  the  Vandyckof  Spain.  Queen  of  Spain's 
Gall.,  "  Marriage  of  S.  Catherine  ; "  "  S.  Jerome  ;  "  "  Assumption  of 
the  Virgin." 

Cerquozzi,  Michael  Angelo,  called  Michael  Angelo  delle  Bat- 
taglie;  born  at  Rome  (1600-1660).  A  distinguished  painter  of 
battle  scenes.  The  works  of  Peter  de  Laer  were  so  in  vogue  in 
Rome,  that  Cerquozzi  gave  himself  to  the  same  style  of  painting,  and 
represented  fairs,  and  festive  scenes  in  low  life.  He  heeded  not  the 
prettinessof  peasant  life,  but  chose  the  lazzaroni,  etc.,  as  his  subjects. 
He  could  rival  many  of  the  be^t  masters  of  the  Netherlands  in  color, 
finish,  completeness,  and  naivete.  In  the  Spada  Pal,  Rome,  there  is 
a  very  touching  representation  of  a  Dead  Ass,  with  the  family  to 
whom  it  belonged  grouped  around  it;  Berlin  Mus.,  a  fine  representa- 
tion of  the  entrance  of  one  of  the  Popes  into  Rome. 

Cesare,  Giuseppe,  il  Cavaliere  d'Arpino,  born  at  Rome  (1568- 
1640).  Pupil  of  Roncalli.  He  had  great  facility  of  handling,  and 
finding  himself  able  to  please,  he  did  not  study  thoroughness.  His 
influence  upon  art  was  bad,  although  he  acquired  great  reputation, 
and  was  much  employed.  He  had  also  many  scholars,  and  opposed 
himself  to  other  schools,  especially  that  of  the  Carracci.  His  fres- 
coes on  the  ceiling  of  the  choir  of  S.  Silvestro  a  Monte  Cavallo  are 
his  best  works.  His  pictures  of  "  Diana  and  Actaeon,"  and  "Bath- 
ing Nymphs  "  are  also  among  his  finer  pictures. 

Cesi,  Bartolommeo,  born  at  Bologna  (1556-1629).  A  contempo- 
rary of  the  Carracci,  and  often  employed  with  them.  He  deserves 
honorable  mention  among  the  artists  of  his  time.  His  frescoes  were 
superior  to  his  oil  pictures.  Many  of  his  works  are  in  Bologna. 

Cespedes,  Pablo  de,  born  at  Cordova  (1538-1608).  Painter, 
architect,  sculptor,  divine,  poet,  and  scholar.  He  studied  at  the 
University  of  Alcala,  and  excelled  in  the  languages  of  the  Orient. 
He  went  to  Rome  and  studied.  He  was  an  intimate  friend,  some 
say  the  pupil,  of  Federigo  Zuccaro.  While  in  Rome,  Cespedes 
painted  in  several  churches,  and  made  a  head  of  Seneca  in  marble, 
which  he  fitted  to  an  antique  trunk.  This  gained  for  him  the  title  of 
"  Victor  il  Spagnuolo."  When  Zuccaro  was  asked  to  paint  a  pic- 


CESPEDES  —  CHAMBERS.  205 

ture  for  the  Cath.  of  Cordova  he  declined,  and  said  that  while  Ces- 
pedes  was  in  Spain  they  had  no  need  of  Italian  artists.  He  left 
many  writings,  among  which  were  an  essay  on  the  antiquity  of  the 
Cath.  of  Cordova,  a  discourse  on  ancient  and  modern  painting  and 
sculpture,  and  a  poem  on  painting.  His  works  which  remain  scarcely 
support  the  fame  which  he  enjoyed  as  a  painter.  His  "  Last  Sup- 
per," in  the  Cath.  of  Cordova,  is  too  faded  to  be  judged  fairly.  In 
the  foreground  are  some  jars  and  vases  which  it  is  said  were  so  well 
painted,  that  some  visitors  complimented  them,  to  the  neglect  of  the 
rest  of  the  picture.  Cespedes  angrily  commanded  his  servant  to  rub 
them  out,  and  only  the  most  judicious  entreaty  and  admiration  saved 
them  from  destruction.  In  the  Cath.  there  is  also  a  Virgin,  Infant, 
and  S.  Anne.  In  the  counting-room  of  the  Cath.  of  Seville  there  is 
a  picture  of  "  Abraham  offering  up  his  Son."  It  is  good  in  color. 
Isaac  is  modelled  after  one  of  the  boys  of  the  "  Laocoon."  In  the 
Louvre  there  is  a  portrait  of  Cespedes,  said  to  have  been  painted  by 
himself.  His  biographer  likened  his  coloring  to  that  of  Correggio. 
Cespedes  was  as  modest  as  he  was  learned.  He  was  also  much  be- 
loved, and  when  made  a  canon  in  the  Cath.  of  Cordova,  he  was  re- 
ceived with  "  full  approbation  of  the  Cordobese  bishop  and  chapter." 

Chabry,  Mark,  born  at  Lyons  (16GO-1727).  Painter  and  sculp- 
tor. He  did  many  works  in  his  native  city.  He  sent  a  statue  of 
Hercules  and  one  of  the  Virgin  to  the  King,  who  appointed  him 
sculptor  of  the  city  of  Lyons.  The  Marechal  de  Villeroy  paid  him 
6,000  livres  for  a  statue  of  "  Winter."  The  bas-relief  over  the  en- 
trance to  the  Hotel  de  Ville,  at  Lyons,  representing  Louis  XIV.  on 
horseback;  the  paintings  and  bas-reliefs  of  the  great  altar  in  the 
ch.  of  S.  Antoine,  and  several  works  in  the  ch.  de  la  Trinite  were  by 
him.  His  son,  Mark,  also  attained  considerable  distinction  as  a 
sculptor. 

Challe,  Charles  Michael  Angelo,  born  at  Paris  (1718-1778). 
When  elected  to  the  Acad.  he  executed  a  picture  of  ' '  Painting  and 
Sculpture  united  by  the  Genius  of  Design."  One  of  his  most  impor- 
tant pictures  represented  S.  Ilippolyte  congratulated  by  the  priests 
upon  his  conversion.  It  was  in  the  ch.  of  that  saint.  He  also 
wrote  treatises  upon  architecture.  He  was  made  professor  of  per- 
spective in  the  Royal  Acad.,  designer  for  the  Royal  Cabinet,  and 
Chevalier  of  the  Order  of  S.  Michael. 

Chambers,  George,  born  at  Whitby.  Son  of 'a  seaman,  he  be- 
came a  sailor,  although  from  childhood  he  desired  to  be  a  painter. 
After  various  ups  and  downs  in  life,  he  met  with  Horner,  who  em- 
ployed him  seven  years  on  his  panorama.  He  then  became  scene 
painter  at  the  Pavilion  Theatre,  and  at  last  by  Vice- Admiral  Lord 
Kerr  was  introduced  to  William  IV.  His  pictures  of  naval  battles, 
three  of  which  are  in  Greenwich  Hospital,  are  good.  His  smaller 
works  are  also  deserving  notice;  he  is  coming  to  be  generally  ap- 
preciated. 


206  CHAMP  AIGNE  —  CHAUDET. 

Champaigne,  Philippe  de,  born  at  Brussels  (1602-1674).  When 
quite  young  he  went  to  Paris  and  worked  with  Nicholas  Duchesne 
upon  the  decorations  of  the  Luxembourg.  In  1627,  he  returned  to 
Brussels,  but  soon  hearing  of  the  death  of  Duchesne,  he  returned  to 
Paris,  married  the  daughter  of  that  painter,  and  succeeded  to  his  work 
at  the  Luxembourg.  Champaigne  excelled  as  a  portrait  painter. 
His  best  works  of  this  kind  are  in  the  Louvre.  Some  of  his  pictures 
are  finished  with  great  attention  to  effect  in  matters  of  laces,  jewels, 
etc.  One  of  his  finest  pictures  represents  "  Adam  and  Eve  mourning 
for  Abel,"  and  is  in  the  Belvedere  Gall.,  at  Vienna. 

Chantrey,  Sir  Francis,  born  at  Norton,  in  Derbyshire  (1782- 
1841).  From  his  early  youth,  he  desired  to  be  an  artist,  and  attracted 
the  attention  of  a  lady  named  Stanley,  by  some  pastry  figures  which  he 
modelled  for  her  table.  She  placed  him  with  a  carver  in  Sheffield. 
Here  he  made  models  in  clay,  and  received  instruction  in  painting 
from  John  Raphael  Smith.  He  visited  Edinburgh  and  Dublin,  but  at 
length  went  to  London  and  studied  in  the  Royal  Acad.,  where  he  ex- 
hibited a  portrait  in  oil,  in  1804.  He  returned,  however,  to  his  true 
vocation,  and  next  exhibited  three  busts  which  displayed  great 
talent.  In  1809,  the  architect  Alexander  gave  him  an  order  for  four 
colossal  busts.  He  also  made  the  bust  of  Pitt,  and,  in  1811,  the 
works  which  he  exhibited  so  pleased  the  sculptor  Nollekens  that  he 
ordered  one  of  his  own  busts  to  be  removed,  that  one  by  Chantrey 
might  take  its  place.  For  the  city  of  London,  he  executed  his  statue 
of  George  III.  This  greatly  increased  his  fame.  In  1817,  he  was 
made  an  associate  of  the  Royal  Acad.  He  made  many  statues  and 
monuments.  One  of  the  finest  represented  two  children,  lying  asleep 
in  each  other's  arms,  which  is  in  Litchfield  Chapel.  This  obtained 
him  an  election  to  the  Royal  Acad.  In  1819,  he  went  to  Italy,  and 
was  elected  member  of  the  Academies  at  Rome  and  Florence.  In 
1835,  he  received  the  honor  of  knighthood.  An  especially  beauti- 
ful work  is  his  statue  of  Lady  Luisa  Russell.  At  the  time  of  his 
death,  he  was  engaged  upon  the  colossal  equestrian  statue  of  the 
Duke  of  Wellington.  He  possessed  a  choice  cabinet  of  medals, 
antiques,  etc.  His  large  fortune  was  bequeathed  to  his  wife  for  life, 
and  then  to  the  Royal  Acad.  for  the  encouragement  of  English  art. 

Chardin,  Jean  Baptiste  Simon,  born  at  Paris  (1699-1779).  A 
painter  of  conversations,  still-life,  etc.  His  best  works  are  those  with 
two  or  three  small  figures  together.  He  paid  great  attention  to  acces- 
sories. Some  of  his  kitchen  pieces  are  excellent.  There  is  a  light- 
ness and  grace  in  his  female  figures,  and  he  gave  a  richness  of  effect 
to  his  works  by  a  variety  of  colors. 

Chaudet,  Antoine  Denis,  born  at  Paris  (1763-1810).  At  the 
age  of  fourteen,  he  had  shown  so  much  talent  for  modelling  and  de- 
signing, that  he  was  admitted  to  the  Royal  Acad.  In  1784,  he  car- 
ried off  the  grand  prize,  and  went  to  Rome  with  the  royal  pension, 


CHAUDET  —  CHRISTOPHSEN.  207 

where  he  remained  five  years.  He  soon  came  to  be  ranked  among 
the  first  modern  sculptors.  He  also  acquired  a  reputation  as  a  painter 
and  designer.  He  was  appointed  professor  of  sculpture,  and  made 
valuable  contributions  to  the  "  Dictionary  of  Fine  Arts."  Some  of 
his  works  in  sculpture  are  :  the  silver  statue  of  "  Peace,"  in  the  Tui- 
leries;  statue  of  "  Cincinnatus,"  in  the  senate  chamber;  a  statue  of 
"CEdipus;"  a  bas-relief,  representing  "Painting,  Sculpture,  and 
Architecture,"  in  the  Musee  Napoleon,  and  many  busts,  etc.  He 
painted  "  JEneas  and  Anchises  in  the  Conflagration  of  Troy,"  and 
designed  many  of  the  illustrations  for  the  fine  edition  of  Racine, 
published  by  P.  Didot,  and  a  great  number  of  medals. 

Cheney,  Seth,  born  at  Manchester,  Conn.;  died  1856.  Brother 
of  John  Cheney,  one  of  the  best  engravers  of  heads  in  America. 
Seth  was  a  crayon  limner,  and  his  best  works  are  exquisite  female 
heads.  He  was  enthusiastic  and  of  an  extremely  sensitive  tempera- 
ment ;  so  much  so,  that  if  a  sitter  came  to  him  to  whom  he  found  him- 
self antagonistic,  he  was  forced  to  relinquish  the  picture.  He  visited 
Europe  four  times,  and  ended  his  life  in  a  weary  decline  in  his  native 
town,  where  he  was  buried  with  an  impressive  service  by  moonlight, 
singularly  in  keeping  with  his  poetical  nature.  There  is  no  depart- 
ment of  art,  in  which  true  genius  can  be  more  strikingly  displayed, 
than  in  that  of  drawing  where  few  lines  are  used,  and  no  color  and 
little  shadow  to  conceal  defects.  The  most  scrupulous  exactness  in 
design  can  alone  be  termed  excellent. 

Chodowiecki,  Daniel  Nicolas,  born  at  Dantzic,  1726;  died  at 
Berlin,  1801.  The  poverty  of  his  youth  compelled  him  to  follow  mer- 
cantile pursuits,  but  he  practised  miniature  painting  during  leisure 
hours,  and  learned  the  process  of  enamel  painting.  At  last  he  gave 
himself  up  to  the  profession  of  an  artist  and  engraver,  and  succeeded 
well.  He  painted  few  oil  pictures,  and  they  had  no  special  merit. 
His  etchings  amounted  to  more  than  1300,  and  he  made  them  as  illus- 
trations for  various  kinds  of  books.  Those  for  the  "  Sorrows  of 
Werther,"  were  very  fine,  lie  published  a  plate  called  "  Les  Adieux 
de  Galas,"  of  which  but  100  impressions  were  taken.  It  is  now  rare, 
and  prized  by  collectors.  At  the  time  of  his  death  he  was  director  of 
the  Acad.  of  Arts  and  Sciences  at  Berlin. 

Christoph.  The  history  of  this  artist  is  unknown.  He  flourished 
in  Cologne,  early  in  the  16th  century.  His  first  known  work,  exe- 
cuted about  1501,  was  formerly  in  the  Chartreuse,  at  Cologne,  now  the 
possession  of  Herr  Haan  of  that  city.  His  most  remarkable  work  is  a 
"  Descent  from  the  Cross,"  No.  280,  Louvre.  There  are  others  in 
the  Munich  Gall.,  Cabinets,  and  in  the  City  Gall,  at  Mayence. 

Christophsen,  Pieter.  This  painter  is  known  by  this  name,  but 
should  properly  be  Christus.  He  was  of  the  Van  Eyck  School.  He 
bought  citizen's  rights  as  a  painter  in  Bruges,  in  1444.  His  earliest 
known  work  is  dated  1447,  is  in  the  Stadel  Mus.,  at  Frankfort,  and 


208  CHRISTOPHSEN  —  CIGOLI. 

represents  the  Virgin  and  Child  with  SS.  Francis  and  Jerome.  In 
1452,  he  painted  a  "Nativity,"  an  "  Annunciation,"  and  a  "Last 
Judgment,"  now  in  the  Berlin  Gall.  They  are  wonderfully  fine  in 
color.  He  painted  a  picture  of  S.  Eligius,  as  a  goldsmith  selling  a 
ring  to  a  bridal  couple.  This  is  dated  1449,  and  is  in  the  possession 
of  Mr.  Oppenheini,  the  banker,  at  Cologne. 

Churriguera,  Josef  de,  born  in  Salamanca;  died,  1725.  His 
works  were  so  peculiar,  that  since  his  time,  everything  bizarre  or 
extravagant  has  been  called  Churriguresque.  He  removed  to  Madrid 
in  1688.  In  the  next  year  he  made  the  design  for  a  catafalque  for 
Maria  Louisa,  which  was  very  singular.  He  was  appointed  assistant 
draughtsman  for  royal  works,  built  a  portal,  church,  and  palace,  and 
executed  many  sculptures.  Soon  after  his  death,  the  dome  of  the  ch. 
of  S.  Tomas,  upon  which  he  was  employed,  fell  down  and  killed  num- 
bers of  workmen  and  worshippers. 

Ciampelli,  Agostino,  born  at  Florence  (1578-1640).  Pupil  of 
Santo  di  Titi.  He  painted  some  angels  with  offerings,  on  the  walls 
of  the  apsis  of  S.  Maria  in  Trastevere,  which  merit  attention.  Two 
good  works  of  his,  representing  the  Burial  of  Martyrs  by  Pious 
Women,  are  in  S.  Pudenziana.  He  was  also  an  architect,  and  super- 
intended some  works  at  S.  Peter's. 

Gibber,  Caius  Gabriel,  born  at  Holstein.  Flourished  about  1670. 
He  went  to  England,  where  he  received  much  encouragement.  He  is 
best  known  by  his  statues  of  "  Raging  "  and  "  Melancholy  Madness," 
at  New  Bethlehem  Hospital,  St.  George's  Fields. 

Cigiiani,  Carlo,  born  at  Bologna  (1628-1719).  This  artist  was  of 
a  noble  family.  He  has  been  called  the  last  of  the  Bolognese.  He 
was  of  the  school  of  Albano,  and  produced  correct  and  pleasing  pic- 
tures, quite  academic  in  character,  but  wanting  in  depth  of  senti- 
ment. He  attempted  principally  graceful  postures  and  display  of 
beautiful  limbs.  He  was  much  admired  in  his  time,  and  even  called 
the  Apelles  of  his  age.  "  Joseph  and  Potiphar's  Wife,"  one  of  his 
pictures,  is  in  the  Dresden  Gall.,  and  an  "  Assumption  "  of  great  size 
is  in  the  Gall,  at  Munich.  He  painted  the  cupola  of  the  ch.  of  the 
Madonna  del  Fuoco  at  Forli.  This  occupied  him  nearly  twenty 
years,  and  he  died  in  that  city. 

Cignaroli,  Giambettino,  born  at  Verona  (1706-1770).  One  of 
the  best  painters  of  his  time.  He  painted  in  the  manner  of  Carlo 
Maratti,  and  his  pictures  are  full  of  sweet  beauty  and  grace.  His 
subjects  were  mostly  religious.  He  introduced  architectural  back- 
grounds with  good  effect,  and  his  angels  and  cherubs  were  well 
painted.  It  is  said  that  in  1769,  the  Emperor  Joseph  II.  visited 
Cignaroli  in  his  studio  at  Verona,  and  afterwards  said  that  in  that 
city  he  had  seen  two  rare  things,  the  first  painter  in  Europe,  and  an 
ancient  amphitheatre. 

Cigoli.     See  Cardi. 


CIMA  —  CIMABUE. 


209 


Cima.     See  Conegliano. 

Cimabue,  Giovanni.  Of  the  noble  family  of  the  Cimabui  (1240- 
1302  ?).  Few  facts  are  known  with  certainty  concerning  the  life  of 
this  artist,  and  so  much  has  been  said  and  contradicted,  that  the 
search  for  what  is  true  is  most  puzzling  and  unsatisfactory.  But  the 
important  truth  connected  with  him  is,  that  he  gave  a  new  impulse 
to  art,  and  infused  new  life  into  dying  and  worn-out  forms  and  rules. 
From  his  time  the  revival  of  painting  may  be  confidently  dated,  and 
this  result  is  much  more  important  to  us,  than  the  matter  of  where  and 
with  whom  he  studied,  whether  or  no  a  certain  quarter  of  a  city  was 
named  for  him,  etc.,  etc.  In  Florence  there  are  two  large  Madonnas 
ascribed  to  him.  The  oldest  one,  formerly  in  S.  Trinitk,  now  in  the 
Acad.,  is  Byzantine  in  style,  and  although  very  powerful  in  some 
features,  as  in  the  energy  and  expression  of  the  prophets  in  the  centre 
niche,  it  does  not  show  the  peculiar  characteristics  of  Cimabue  with 
the  same  clearness  as  does  the  "  Madonna  Enthroned,"  in  S.  Maria 
Novella.  At  the  time  when  this  last  was  completed,  it  was  the 
largest  altar-piece  that  had  been  seen,  and  it  is  said  to  have  been 
borne  to  the  church  by  a  rejoicing  procession  of  Florentines,  with 
trumpeters,  and  expressions  of  pride  and  praise.  In  it  the  Virgin 
sits  in  a  chair  held  by  six  kneeling  angels.  The  infant  is  on  her  lap, 
and  both  their  heads  are  encircled  by  the  nimbus,  delicately  wrought. 
The  frame  of  the  picture  (which  is  a  gabled  parallelogram  in  form) 
is  richly  carved,  and  in  it  are  thirty  medallions  representing  half 


CunoWe 


ST.  JOHN  THE   EVANGELIST.      BY   CIMABUE. 

From  a  Madonna  picture  in  S.  Maria  Novella,  Florence. 
14 


210  CIMABUE  —  CIVETTA. 

figures  of  saints  on  gold  ground.  The  old  features  are  still  here,  but 
the  eye  is  softened  by  a  change  in  the  form  of  the  iris,  and  by  closer 
curving  of  the  lids  than  had  been  customary.  The  hands  are  very 
striking  for  their  thinness,  and  the  separation  of  the  fingers.  The 
head  of  Mary  is  disproportionate  to  the  slenderness  of  her  form,  and 
it  is  a  wonder  now  that  angels  could  have  been  so  painted,  and  yet, 
from  this  very  picture  went  out  an  influence,  but  for  which  such  names 
as  those  of  Giotto,  Ghirlandaio,  Michael  Angelo,  Leonardo,  and  Ra- 
phael might  never  have  been  heard.  In  color,  Cimabue  made  great 
advance.  He  softened  the  old  hardness  of  outline;  he  made  new  and 
better  flesh  tints;  he  rounded  the  form,  and  he  used  for  his  draperies 
gay,  transparent  colors.  He  used  much  ornament,  it  is  true,  but  he 
made  it  a  subordinate  part  of  his  work,  and  executed  it  in  better  taste 
than  his  predecessors  had  shown.  Cimabue  painted  in  the  ch.  of  As- 
sisi,  but  which  are  his  pictures  is  not  known.  The  careful  observer 
of  that  church  must  be  convinced  that  the  works  were  done  by 
several  different  hands,  and  I  can  but  believe  that  careful  study  and 
criticism  reveals  the  brush  of  Cimabue.  A  large  Virgin  and  Child 
above  the  altar  of  the  Conception  in  the  lower  church,  surrounded  by 
the  works  of  Giotto,  and  an  enthroned  Saviour  and  some  angels  in 
the  northern  transept  of  the  upper  church,  seem  to  be  the  work  of 
the  same  master  who  painted  the  Madonnas  of  Florence,  especially 
that  in  the  Acad.  of  Arts.  The  last  known  work  of  Cimabue  was 
done  in  the  Duomo  of  Pisa,  where  he  was  appointed  capo  maestro  of 
the  mosaics.  He  executed  a  large  part  of  the  mosaic  in  the  chief 
tribune,  representing  the  Saviour  with  the  Virgin  and  John  the  Bap- 
tist. This  work  has  suffered  so  much  injury  as  to  afford  little  satis- 
faction from  examination.  A  Madonna  somewhat  like  those  in  Flor- 
ence, once  in  S.  Francesco  at  Pisa,  is  now  in  the  Louvre.  A  Madonna 
in  the  National  Gall,  was  in  the  ch.  of  Santa  Croce. 

Cimaroli,  Giambattista,  da  Salb,  born  at  Venice.  Flourished 
1718-1733.  A  painter  of  seaports,  landscapes,  and  classical  ruins. 
His  works  are  not  uncommon  in  England. 

Cioli,  or  Ciolli,  Valeric.  This  old  sculptor  studied  under  Tri- 
bolo  and  Raphael  de  Monte  Lupo.  He  was  employed  by  the  Grand 
Duke  of  Tuscany  to  restore  antique  statues.  He  executed  the  statue 
of  Michael  Angelo,  on  his  grave  at  Santa  Croce  in  Florence. 

Cipriani,  Gio.  Battista,  born  at  Florence,  1727;  died  in  London, 
1 785.  An  elegant  designer,  as  well  as  a  painter.  After  studying  in 
Florence  and  Rome  he  went  to  England,  where  he  designed  many 
plates  which  were  engraved  by  Bartolozzi  in  his  excellent  manner. 
He  painted  but  few  large  pictures,  but  he  left  many  beautiful  draw- 
ings, which,  together  with  Bartolozzi's  engravings,  have  a  wide  repu- 
tation. In  his  oil  pictures  his  female  figures  are  beautiful  in  the  dis- 
tance, but  are  too  coarse  and  unfinished  to  bear  examination. 

Civetta.     See  Bles. 


CIVITALI  —  CLEVENGER.  211 

Civitali,  Matteo,  born  at  Lucca  (1435-1501).  One  of  the  most 
distinguished  sculptors  of  his  time.  Studied  in  Florence.  His  "  S. 
Sebastian,"  in  the  Duomo  at  Lucca,  so  delighted  Perugino  that  he  re- 
peated the  figure  in  his  picture  of  "  The  Entombment. ' '  His  most  im- 
portant work  was  the  tomb  of  Pietro  da  Noceto,  Secretary  to  Pope 
Nicholas  V.,  which  ranks  high  among  the  monuments  of  the  15th 
century.  At  Genoa  he  executed  six  statues  and  five  bas-reliefs  for 
the  chapel  of  S.  John  the  Baptist.  In  the  Uffizi  there  is  a  seated 
figure  of  "  Faith,"  full  of  earnestness  and  religious  feeling.  Although 
best  known  as  a  sculptor,  he  was  an  accomplished  architect,  and  did 
much  to  improve  the  style  of  building  in  Lucca;  and  the  beautiful 
temple  of  the  Volto  Santo  in  the  Duomo  was  designed  by  him. 

Claessens,  Anthony.  A  painter  of  Bruges,  whose  works  are  in 
the  Acad.  and  Town  Hall  of  that  city. 

Cleef,  John  Van,  born  at  Venloo,  1646;  died  at  Ghent,  1716.  Pu- 
pil of  Gaspard  de  Craeyer.  His  works  are  numerous  in  Flanders  and 
Brabant,  and  some  of  the  best  are  at  Ghent. 

Cleomenes.  1.  The  sculptor  of  the  "  Venus  de  Medici "  in  the  Uf- 
fizi Gall.  Pliny  alone  mentions  this  master,  and  he  does  not  appear 
to  have  been  very  celebrated  among  the  ancients.  From  various 
known  facts  it  is  decided  that  he  lived  between  363  and  146  B.C. 
2.  Another  sculptor,  the  author  of  the  statue  in  the  Louvre  called 
u  Germanicus,"  and  which,  in  truth,  represents  a  Roman  orator  with 
the  right  hand  Uf ted  and  in  the  habit  of  Mercury,  as  is  seen  from  the 
turtle  at  his  feet.  There  is  also  at  Florence  a  bas-relief  representing 
the  story  of  Alceste,  which  is  inscribed  with  the  name  of  Cleomenes, 
but  to  which  one  it  should  be  attributed  is  not  known. 

Clerisseau,  or  Clarisseau,  Charles  Louis,  born  at  Paris.  Died 
1820.  An  architect  and  a  designer  in  water-colors.  Principally 
known  for  his  much-esteemed  water-color  drawings  of  the  remains  of 
ancient  architecture. 

Cleve,  Joas  Van,  born  at  Antwerp.  Flourished  from  1530  to  1550. 
Little  is  known  of  him.  It  is  said  he  went  to  Spain.  It  is  certain 
he  painted  in  England.  His  pictures  are  sometimes  mistaken  for 
those  of  Holbein.  Two  of  his  best  works  are  his  portraits  of  his 
\vitV  and  himself,  at  Windsor  Castle. 

Clevely,  John,  born  in  London  (1743-1786).  His  best  works  are 
water-color  marine  views.  His  perspective  was  fine  and  his  execu- 
tion neat  and  delicate. 

Clevenger,  Shobal  Vail,  born  in  Middletown,  Ohio,  1812.  Died 
at  sea,  1843.  He  was  first  encouraged  to  attempt  sculpture  by  the 
execution  of  an  angel  upon  a  tomb-stone,  when  employed  as  a  stone- 
cutter in  Cincinnati.  He  confined  himself  to  making  busts,  and 
found  much  employment  in  Boston  and  New  York.  His  works  are 
well  known,  and  some  of  them  have  been  widely  circulated  in  plas- 
ter casts.  His  bust  of  Webster  is  perhaps  the  most  striking  of  all. 


212  CLEVENGER  —  CLOVIO. 

It  does  not  represent  Webster,  the  intellectual  giant,  but  the  Web- 
ster known  by  the  mass  of  the  people.  Webster,  Clay,  Everett, 
Allston,  Van  Buren,  Chief  Justice  Shaw,  and  other  eminent  men 
were  perpetuated  in  his  marble  portraits.  Thorwaldsen  greatly 
praised  some  of  his  works.  The  early  education  of  Clevenger  was 
deficient,  but  his  association  with  refined  and  cultivated  people  had 
its  fullest  legitimate  effect  upon  him.  He  frankly  confessed  his  need 
of  knowledge,  and  never  hesitated  to  ask  what  he  did  not  know. 
There  was  a  genuine  truthfulness  and  a  sincere  directness  about  him 
that  endeared  him  to  all  with  whom  he  came  in  contact.  When  in 
Florence,  with  his  young  family,  with  every  opportunity  and  motive 
to  work  about  him,  he  was  prostrated  by  disease.  His  intense  long- 
ing for  his  home  led  him  to  attempt  to  reach  it.  This  he  was  not 
permitted  to  do,  and  from  the  midst  of  the  broad  ocean  his  spirit  found 
free  course  to  his  eternal  home. 

Cleyii,  Franz,  born  at  Rostock;  died  1658.  He  was  employed  by 
Christian  IV.  of  Denmark,  went  next  to  Rome,  and  acquired  the  art 
of  painting  grotesques.  James  I.  of  England  employed  him  at  his 
tapestry  manufactory  at  Mortlake.  Some  of  his  best  works  are  in 
Holland  House.  He  left  a  few  etchings  which  resemble  those  of 
Hollar. 

Clint,  George,  born  at  Hexham  (1770-1854).  Son  of  a  hair- 
dresser. After  repeated  trials  of  other  pursuits,  he  gave  himself  up 
to  miniature  painting  and  mezzotinto  engraving.  About  1816  he 
commenced  his  valuable  portraits  of  the  principal  dramatists  of  his 
time.  These  embrace  Kean,  Charles  Kemble,  Young,  Listen,  Mat- 
thews, Macready,  etc.,  in  character.  Many  of  these  are  at  the  Gar- 
rick  Club.  He  also  painted  numerous  other  portraits. 

Clouet,  or  Cloet.  Three  artists  of  this  name  have  been  con- 
founded into  one.  Jehan  the  father  went  from  Brussels  and  settled 
in  Tours,  in  1480.  Jehan  the  son  went  with  his  father  to  France, 
and  became  painter  to  Francis  I.  in  1518,  and  the  portraits  often 
credited  to  Fran9ois  belong  to  him.  He  painted  the  equestrian  por- 
trait of  Francis  I.  in  the  Florence  Gall.,  attributed  to  Holbein. 
He  did  not  write  his  name  on  his  works. 

Clouet,  Francois,  son  of  Jehan  the  younger,  and  called  by  his 
name,  on  account  of  his  celebrity,  was  born  at  Tours  (1510-1574). 
He  succeeded  his  father  as  painter  to  the  king,  and  was  continued  in 
that  office  under  Henry  II.  He  painted  many  portraits  of  the  royal 
family,  nobility,  and  persons  of  celebrity. 

Clouet,  Peter,  born  at  Antwerp  (1606-1668).  An  engraver,  who 
studied  with  Spierre  and  Bloemaert,  at  Rome.  After  his  return  to 
Antwerp  he  engraved  several  plates  after  Rubens,  which  are  much 
esteemed. 

Clovio,  Giulio,  born  in  Croatia  (1498-1578).  A  pupil  of  Giulio 
Romano.  He  was  a  miniaturist  or  illuminator.  His  designs  were 


CLOVIO  —  COELLO.  213 

bad,  but  tne  finish  of  his  works  wonderful.  The  "Farnese  Brevi- 
ary," now  in  the  library  at  Naples,  is  said  to  have  occupied  him  nine 
years  in  the  execution  of  its  twenty-six  miniatures. 

Codagora,  Viviano.  Flourished  about  the  middle  of  the  1 7th  cen- 
tury. Painted  architectural  ruins.  Some  of  his  works  are  in  Eng- 
land, and  many  are  in  the  collections  of  Naples.  The  figures  in  his 
pictures  were  done  by  other  artists. 

Coello,  Alonso  Sanchez,  born  at  Benifayro,  early  in  the  16th 
century;  died  1590.  The  first  great  portrait  painter  of  Spain. 
Painter-in-ordinary  to  Philip  II.,  and  a  great  favorite  of  that  king, 
who  was  accustomed  to  address  him  in  his  letters  as  his  "beloved 
son."  At  Madrid,  Coello  lived  in  apartments  to  which  Philip  could 
go  by  a  private  door,  to  which  he  kept  the  key.  He  was  in  the 
habit  of  surprising  him  in  his  studio,  or  even  when  dining  with  his 
family.  But  Coello  never  abused  this  confidence,  and  remained  a 
favorite,  not  only  of  the  king,  but  of  the  court  also.  Gregory  XIII., 
Sixtus  V.,  Card.  Alexander  Farnese,  and  the  Dukes  of  Florence  and 
Savoy,  were  also  his  admirers  and  friends,  and  many  royal  and 
noble  persons  were  accustomed  to  visit  him  and  to  accept  his  hospi- 
talities. Large  as  the  expense  must  have  been  of  maintaining  a 
proper  style  of  living  under  these  circumstances,  it  is  said  that  when 
he  died  he  left  a  fortune  of  55,000  ducats.  He  endowed  a  hospital 
at  Valladolid.  Philip  often  called  Coello  his  "  Portuguese  Titian," 
because  he  had  lived  at  Lisbon,  and  his  portraits,  of  which  com- 
paratively few  exist,  are  fine  in  color  and  graceful  in  design.  He 
knew  how  to  represent  the  repose  and  refinement  which  belong  u  to 
gentle  blood  and  delicate  nurture."  He  also  painted  sacred  subjects, 
and  there  is  a  "Marriage  of  S.  Catherine,"  by  him,  in  the  Royal 
Gall,  at  Madrid.  Many  of  his  pictures  were  burned  in  the  Palace 
of  the  Prado.  Lope  de  Vega  wrote  his  epitaph,  and  called  his 

pictures 

"  Eternal  scenes  of  history  divine, 
Wherein  for  aye  his  memory  shall  shine." 

His  pictures  in  the  Escorial  were  painted  at  the  command  of 
Philip,  in  1582,  and  represent  different  saints  at  their  altars,  but  a 
"Martyrdom  of  S.  Sebastian,"  painted  for  the  ch.  of  S.  Jerome,  at 
Madrid,  is  considered  by  many  to  be  his  chef-d'oeuvre^  and  was 
praised  by  Cumberland  for  its  "  majesty  of  design,  bold  relief,  and 
strong,  masterly  expression." 

Coello,  Claudio,  born  at  Madrid  between  1630  and  1640;  died 
1693.  His  father  was  a  Portuguese  sculptor  in  bronze,  and  intended 
to  train  his  son  in  his  own  profession.  He  placed  him  in  the  school 
of  Ilizi,  to  study  drawing,  where  he  showed  so  much  talent,  that  his 
master  persuaded  his  father  to  allow  him  to  be  a  painter.  He  was 
never  weary  of  his  pencil,  and  soon  outstripped  his  fellow-pupils. 
While  still  under  liizi,  he  was  employed  to  paint  for  churches  and 


214  COELLO  —  COLE. 

convents.  He  became  the  friend  of  Carrefio,  who  obtained  admis- 
sion for  him  to  the  Royal  galleries,  where  he  studied  color  by  copy- 
ing Rubens,  Vandyck,  and  Titian.  He  became  the  partner  of 
Ximenez  Donoso,  and  together  they  executed  many  frescoes.  When 
Queen  Maria  Louisa  made  her  public  entry  into  Madrid^these  two 
painters  superintended  the  artistic  arrangements  of  the  great  cere- 
monial. In  1683,  Coello  was  called  to  Zaragoza,  by  the  Archbishop, 
to  paint  in  the  collegiate  ch.  of  the  Augus tines,  and  upon  his  return, 
in  1684,  was  made  painter  to  the  king,  and  afterwards  became 
painter-in-ordinary  and  deputy-aposentador.  After  the  death  of 
Rizi,  in  1685,  he  painted  the  altar-piece  for  the  Santa  Forma.  This 
was  his  masterpiece,  and  still  hangs  in  the  Escorial.  It  represents 
Charles  II.  and  his  court  receiving  the  sacerdotal  benediction  at  the 
dedication  of  the  altar.  (For  legend  of  the  Santa  Forma,  see  Fran- 
cisco Rizi.)  This  picture  occupied  him  more  than  two  years,  and  at 
its  completion  was  received  with  great  applause.  During  a  few  suc- 
ceeding years,  Coello  reigned  supreme  artist  of  Madrid.  He  painted 
portraits  of  the  royal  family  and  many  notable  persons ;  he  was  ap- 
pointed painter  to  the  Cath.  of  Toledo,  and  keeper  of  the  Royal  gal- 
leries. He  felt,  with  reason,  that  he  merited  the  honor  of  painting 
the  walls  of  the  Escorial;  and  so  great  was  his  sorrow  and  mortifi- 
cation when  Luca  Giordano  was  preferred  to  that  work,  that  he 
threw  aside  his  brushes  and  pencils,  grew  sad,  and  at  length  ill,  and 
died  a  year  later.  The  frescoes  of  Coello  were  not  his  best  works, 
because  too  hastily  done,  but  his  oil  pictures  were  finished  with 
care,  and  are  effective,  graceful,  and  rich  in  tone.  The  picture  at 
the  Escorial  is  the  best.  The  Royal  Gall.,  Madrid,  has  two  large 
compositions,  Nos.  224  and  306,  both  representing  the  Virgin,  with 
several  saints.  The  sketches  of  Coello,  a  few  of  which  are  in  the 
Louvre,  are  highly  esteemed. 

Cole,  Thomas,  born  in  Lancashire,  England,  1801.  His  father 
was  a  woollen  manufacturer,  who  came  to  America  while  Thomas  was 
a  child,  and  manufactured  paper-hangings  in  Ohio.  In  mixing  pig- 
ments, the  son  took  his  first  lessons  in  art.  He  was  of  an  extremely 
sensitive  temperament,  had  much  taste  for  music,  and  fully  appre- 
ciated beautiful  scenery.  A  portrait  painter  strayed  into  the  village 
where  he  lived,  and  gave  him  some  instruction.  At  length,  with  his 
palette  and  other  materials,  his  flute,  and  a  little  clothing,  he  started 
off,  supported  himself  by  playing  his  flute,  and  took  his  frugal  meals 
by  the  roadside.  After  varied  experiences,  he  made  his  way  to  New 
York.  Here  Durand  and  Trumbull  were  his  friends.  His  views  of 
the  Hudson  brought  him  good  prices.  During  his  life  he  made  two 
visits  to  Europe,  but  he  followed  his  art  with  unceasing  devotion. 
Some  of  his  autumnal  scenes  were  exhibited  in  England,  where  they 
were  considered  as  the  invention  of  an  extravagant  Yankee.  His 
allegorical  pictures  are  most  celebrated,  but  it  is  in  the  landscape 


COLE  —  COLOGNE.  215 

rather  than  in  the  figure  that  he  excelled.  He  painted  landscapes 
in  England,  Italy,  and  Sicily,  but  he  loved  best  to  represent  the 
beauties  of  the  New  World.  It  has  been  well  said  that  his  brush 
performed  the  same  service  to  our  scenery,  as  Bryant's  pen.  He 
wrote  from  Italy,  "  Neither  the  Alps,  nor  the  Apennines,  nor  even 
Etna  itself  have  dimmed  in  my  eyes  the  beauty  of  our  own  Catskills." 
His  religious  sensibility  was  shown  in  his  pictures  of  the  "  Voyage 
of  Life."  He  died  at  his  home  among  the  Catskills  when  forty-seven 
years  old.  There  is  a  singular  coincidence  connected  with  his  serial 
pictures.  "  The  Course  of  Empire  "was  painted  for  Luman  Reed, 
who  died  just  before  its  completion.  His  "  Voyage  of  Life  "  was  for 
Samuel  Ward,  whose  own  life  was  ended  before  the  work  was  done. 
"  The  Cross  and  the  World,"  he  painted  for  himself,  and  the  "  Pil- 
grim entering  Heaven  "  was  scarcely  finished  when  his  own  spirit  was 
taken  to  that  other  world  he  had  so  recently  contemplated.  He 
painted  but  few  portraits.  His  descriptions  of  scenery  were  charm- 
ing and  full  of  artistic  feeling.  His  "  Mount  Etna,"  and  view  of  the 
"White  Mountains"  are  in  the  Wadsworth  Gall.,  Hartford;  his 
"  Course  of  Empire  "  in  the  Gall,  of  the  New  York  Historical  Soci- 
ety; the  "  Mountain  Ford,"  "  Kenilworth  Castle,"  and  the  "  Voyage 
of  Life  "  are  in  the  Gall,  of  John  Taylor  Johnston,  New  York  city; 
the  "  Angel  appearing  to  the  Shepherds,"  in  the  Boston  Athenaeum, 
and  many  of  his  pictures  are  owned  by  our  most  appreciative  men,  as 
will  be  understood  from  the  fact  that  after  his  death  sixty-three  pic- 
tures were  exhibited  in  New  York,  by  the  kindness  of  the  owners. 

Colin,  Alexander,  born  at  Malines  (1520-1612).  His  principal 
works  are  at  Innsbriick,  where  he  settled  and  received  the  appoint/ 
ment  of  sculptor  to  the  Archduke  Ferdinand.  In  1577,  he  exe- 
cuted the  embellishments  for  a  fountain  at  Vienna. 

Collantes,  Francisco,  born  at  Madrid  (1599-1656).  A  painter 
of  history  and  landscapes,  which  last  were  rich  in  color,  and  bold  and 
masterly  in  style.  Queen  of  Spain's  Gall.,  very  striking  picture  of 
"Ezekiel  in  the  Valley  of  Bones,"  signed,  Fran.  Collantes,  ft.  1630; 
sumr  Gall.,  a  landscape;  Louvre,  the  "  Burning  Bush  in  Horeb." 

Collins,  William,  born  in  London  (1788-1847).  A  very  charm- 
ing painter  of  landscapes,  rustic  children,  etc.  His  pictures  are 
highly  prized.  They  are  excellent,  whether  considered  as  landscapes 
with  figures,  or  as  figures  in  a  landscape.  He  was  fond  of  such  sub- 
jects as  "  The  Sale  of  the  Pet  Lamb,"  "  Shrimp  Boys  at  Cromer," 
"  Skittle  Players,"  etc.  He  painted  many  subjects  connected  with 
fishermen  and  sea  views,  especially  those  of  Cromer  Sands.  He 
visited  France,  Italy,  Holland,  Belgium,  Germany,  and  the  Shetland 
Isles.  Towards  the  end  of  his  life  he  painted  some  religious  sub- 
jt-cts. 

Cologne,  Meister  Wilhelm,  of.  Little  is  known  of  this  old 
muster,  who  is  said  by  some  to  be  the  same  as  Wilhelmus  de  Herle, 


216  COLOGNE  —  CONINCK. 

and  to  have  settled  in  Cologne  in  1370.  The  Limburg  Chronicle  of 
1380  says,  "  In  this  time  there  was  a  painter  in  Cologne  of  the  name 
of  Wilhelm;  he  was  considered  the  best  master  of  all  German  Land; 
he  paints  every  man,  of  whatever  form,  as  if  he  were  alive."  All  the 
best  old  pictures  of  Cologne  and  vicinity  have,  on  the  strength  of  this, 
been  credited  to  Meister  Wilhelm.  The  oldest  one  is  probably  that 
at  S.  Castor,  at  Coblentz.  It  is  a  wall  painting,  commemorative  of 
an  Archbishop  of  Treves  who  died  in  1386.  Its  original  appearance 
cannot  be  even  surmised,  owing  to  the  restorations  (?)  it  has  suffered. 
The  altar-piece  and  wings  which  once  adorned  the  ch.  of  S.  Clara, 
and  are  now  in  the  Cath.  of  Cologne,  are  far  more  satisfactorily  asso- 
ciated with  the  great  fame  of  Meister  Wilhelm.  It  is  probable  that 
the  centre  portion  only  was  his  work.  This  represents  the  "  Life  and 
Passion  of  Christ. "  The  pictures  arc  on  gold  ground,  the  drawing 
feeble  and  incorrect,  but  the  tints  better.  At  S.  Severin,  there  is  a 
"Crucifixion"  on  the  wall  of  the  Sacristy,  probably  by  the  same 
hand.  There  are  works  attributed  to  him  in  the  Museums  of  Cologne, 
Berlin,  and  Munich;  in  the  National  Gall.,  the  Frankfort  Library, 
etc. 

Colonna,  Michael  Angelo.     See  Mitelli. 

Compe,  Jan  Ten,  born  at  Amsterdam  (1713-1761).  Pupil  of 
Dirk  Dalens.  He  painted  landscapes  and  views  of  cities.  One  of 
the  New  Market  at  Amsterdam  sold  for  2000  Dutch  florins,  at  public 
sale. 

Conca,  Sebastiano,  born  at  Gaeta  (1676-1764).  A  pupil  of 
Francesco  Solimena,  he  strove  only  to  acquire  the  prettiness  of  art. 
He  was  employed  in  Rome  by  Clement  XI.  Mengs  says  that  by  the 
introduction  of  his  style  at  Rome,  "  he  put  the  finishing  stroke  to  the 
ruin  of  painting." 

Condivi,  Ascanio.  A  pupil  of  Michael  Angelo.  Without  suffi- 
cient talent  to  be  known  as  a  painter,  his  reputation  is  world-wide  as 
the  author  of  the  life  of  the  great  master,  published  in  1553. 

Conegliano,  Giambatista  Cima  da.  His  latest  date  on  any 
known  work  is  1508;  but  he  is  said  to  have  lived  much  later.  He 
was  one  of  the  best  of  the  Bellinesque  painters.  His  coloring  of  some 
works  is  such  that  Kugler  says  it  "glistens  like  jewels."  His  chef- 
cVceuvre  is  in  the  ch.  del  Carmine,  at  Venice,  and  represents  the  Vir- 
gin kneeling  before  the  sleeping  Child.  He  often  introduced  into  the 
landscapes  of  his  backgrounds  the  rocky  height  and  castle  of  Coneg- 
liano. As  a  painter  of  sacred  subjects  he  merits  a  worthy  place  in 
his  age.  He  was  very  industrious,  and  his  pictures  are  in  most  Euro- 
pean collections,  and  many  are  in  Venice  in  churches,  and  in  the 
Acad. 

Coninck,  David  de  (1636-1687).  Pupil  of  Jan  Fyt.  His  pic- 
tures arc  animated  and  powerful  in  color.  They  are  rare.  There 
are  two  of  great  merit  in  the  Amsterdam  Mus.,  representing  a  Stag- 
hunt  and  a  Bear-hunt. 


CONSTABLE  —  COPLEY.  217 

Constable,  John,  born  at  East  Bergholt  in  Suffolk  (1776-1837). 
A  landscape  painter.  His  favorite  subjects  were  country  lanes,  stiles, 
and  fields.  He  was  passionately  fond  of  quiet  nature,  and  one  con- 
spicuous characteristic  of  his  works  is  their  simplicity.  He  was  ac- 
customed to  give  the  effect  of  dew,  and  this,  sometimes  carried  to  an 
excess,  gave  a  spotted  appearance  which  is  much  criticised.  The 
"  Corn-field  "  and  "Valley-farm,"  in  the  National  Gall.,  are  fine 
specimens  of  his  pictures. 

Contariiii,  Cavaliere  Gio.,  born  at  Venice  (1549-1605).  An 
exact  imitator  of  Titian.  He  painted  many  mythological  pictures. 
His  principal  work,  formerly  in  the  Ducal  Pal.  of  Venice,  now  in  the 
Louvre,  represents  the  Virgin  with  the  Child;  she  is  on  a  throne,  sur- 
rounded by  SS.  Mark  and  Sebastian,  and  the  Doge  Marino  Grimani 
kneeling.  He  was  also  an  eminent  portrait  painter. 

Conte,  Jacopo  del,  born  at  Florence  (1510-1598).  He  lived 
much  at  Rome,  and  a  few  of  his  historical  pictures  are  to  be  seen  in 
churches  there;  but  he  especially  excelled  in  portraiture,  a  branch  of 
art  much  patronized  in  his  time  in  Venice,  Rome,  and  Florence. 

Conti,  Bernardino  di.  In  the  Berlin  Mus.,  there  is  a  fine  por- 
trait of  a  Cardinal  by  this  old  artist,  and  in  the  Gall,  of  the  Capitol, 
Rome,  a  picture  of  a  boy,  1496. 

Cooninxloo,  Giles,  born  at  Antwerp  (1544-1609).  A  landscape 
painter,  who  was  well  considered  in  his  time.  His  pictures  are 
spirited  and  his  color  is  agreeable. 

Cooper,  Samuel,  born  in  London  (1609-1672).  An  eminent 
miniaturist.  His  works  were  much  admired  during  his  life,  and  now 
have  an  honorable  place  in  fine  collections.  His  reputation  extended 
to  the  continent.  He  has  been  called  "  the  Vandyck  in  little."  But 
his  impasto  and  fine  fresh  color  remind  one  of  Lely,  more  than  Van- 
dyck, and  there  is  a  breadth  in  his  works  unusual  in  miniature.  He 
painted  many  eminent  persons.  His  wife  was  aunt  to  Alexander 
Pope,  and  was  promised  a  pension  (which  she  never  received)  for 
the  pictures  her  husband  had  painted  for  the  court.  He  was  buried 
in  Old  S.  Pancras.  ^ 

Coopse,  Pieter.  Little  is  known  of  this  artist.  He  painted  in 
the  style  of  Backhuysen,  and  it  is  believed  that  many  of  his  pictures 
are  attributed  to  the  latter.  No  230,  Munich  Gall.,  is  called  a  Back- 
huysen, although  the  name  of  Coopse  is  on  it. 

Copley,  John  Singleton,  R.  A.,  born  in  Boston  (1737-1815). 
The  father  and  mother  of  this  artist  emigrated  from  Limerick,  Ire- 
land, to  Boston.  The  father  was  descended  from  the  Copleys  of 
Yorkshire,  and  the  mother  from  the  Singletons  of  County  Clare,  both 
families  of  importance.  When  the  subject  of  our  sketch  was  eleven 
years  old,  his  mother  was  married  to  Peter  Pelhain,  a  portrait 
painter,  and  mezzotint  engraver.  Whitmore  calls  Pelham  "  the 
founder  of  these  arts  in  New  England.  "  This  marriage  was  an  ad- 


218  COPLEY. 

vantage  to  young  Copley,  since  he  not  only  received  the  instruction 
and  advice  of  Pelham,  but  was  surrounded  by  those  who  sympathized 
with  him  in  his  choice  of  a  profession.  He  was  studious  and  quiet, 
and  advanced  rapidly.  He  attained  eminence  as  a  portrait  painter 
in  America,  and  lived  in  easy  elegance,  having  married  in  1769  Miss 
Susan  Clarke,  the  daughter  of  a  distinguished  merchant  of  Boston.  A 
little  later  Copley  sent  to  Benjamin  West,  in  London,  his  picture  of 
the  "Boy  with  a  Squirrel  "  now  owned  by  Mrs.  James  S.  Amory, 
for  exhibition  at  Somerset  House.  He  sent  no  letter  or  name  with 
it ;  the  rule  of  the  exhibition  excluded  anonymous  pictures,  but  West 
knew  it  to  be  an  American  work  by  the  wood  upon  which  it  was 
stretched,  and  from  the  fact  of  the  squirrel  being  such  as  belong  to 
New  England.  The  rule  was  set  aside,  and  the  picture  so  favorably 
received,  that  Copley  was  advised  to  go  to  England.  He  sailed  in 
1774,  never  to  return.  He  went  from  England  to  the  Continent, 
studied  at  Rome  and  Parma,  travelled  as  far  as  Naples,  returned  to 
France,  Germany,  and  Holland,  studying  constantly,  and  finally 
settled  in  London,  where  his  wife  and  children  joined  him. 

He  soon  rose  to  distinction,  was  made  an  Associate  of  the  Royal 
Acad.  in  1 7  7  7,  and  an  Academician  six  years  later.  Many  distinguished 
persons  were  among  his  sitters,  and  a  portrait  of  three  of  the  children 
of  George  HI.,  now  at  Buckingham  Pal.,  is  a  fine  example  of  his  por- 
traits. He  painted  several  large  pictures,  illustrative  of  events  in 
English  history,  and  some  religious  subjects.  His  portraits  are  full 
of  dignity,  and  there  is  that  in  them  which  seems  to  assure  us  that 
they  were  truthful  likenesses;  his  rich,  subdued  coloring  is  very 
effective.  His  life  was  most  successful ;  he  had  friends  among  the 
most  eminent  men  on  both  sides  of  the  Atlantic ;  his  family  were  cul- 
tivated, and  his  son  became  eminently  distinguished  as  the  great 
Lord  Lyndhurst.  He  was  a  man  of  strong  religious  sentiments,  and 
of  quick  and  earnest  sympathy.  The  following  anecdote  shows  us 
his  American  feeling.  In  1782,  Elkanah  Watson  was  in  London, 
and  Copley  made  a  full  length  portrait  of  him.  In  his  journal,  Mr. 
Watson  says,  "  The  painting  was  finished  in  most  exquisite  style  in 
every  part  except  the  background,  which  Copley  and  I  designed  to 
represent  a  ship,  bearing  to  America  the  acknowledgments  of  our  in- 
dependence. The  sun  was  just  rising  upon  the  stripes  of  the  Union 
streaming  from  her  gaff.  All  was  complete  save  the  flag,  which 
Copley  did  not  deem  proper  to  hoist  under  the  present  circumstances, 
as  his  gallery  was  the  constant  resort  of  the  Royal  family  and  of  the 
nobility.  I  dined  with  the  artist  on  the  glorious  5th  of  December, 
1 782.  After  listening  with  him  to  the  speech  of  the  King,  formally 
recognizing  the  United  States  of  America  as  in  the  rank  of  nations, 
previous  to  dinner,  and  immediately  after  our  return  from  the  House 
of  Lords,  he  invited  me  into  his  studio;  and  there,  with  a  bold  hand, 
a  master's  touch,  and  I  believe  an  American  heart,  he  attached  to  the 


COPLEY  —  COQUES.  219 

ship  the  stars  and  stripes.     This  was,  I  imagine,  the  first  American 
flag  hoisted  in  Old  England." 

Copley  was  buried  in  Croydon  ch.,  near  London.  Many  of  his 
pictures  are  scattered  over  America,  belonging  to  the  descendants  of 
those  for  whom  they  were  painted.  A  number  are  of  easy  access  to 
the  public  in  the  Boston  Athenaeum,  where  some  are  owned,  and 
where  from  time  to  time  they  are  put  on  exhibition  by  private  indi- 
viduals. Heretofore  there  has  been  no  satisfactory  account  of  his 
works,  but  a  book  is  about  being  published  which  will  supply  this  de- 
ficiency. It  is  known  that  269  oil  paintings,  35  crayons,  and  14 
miniatures  by  him  are  still  in  existence  in  this  country  ;  a  list  of  these 
will  be  given  with  a  sketch  of  his  life,  and  other  interesting  facts. 
The  title  of  the  book  is  "  A  Sketch  of  the  Life,  and  a  List  of  some 
of  the  Works,  of  John  Singleton  Copley."  It  is  written  by  Augustus 
Thorndike  Perkins,  to  whom  I  am  indebted  for  the  facts  contained  in 
this  article. 

LIST   OF   ENGRAVINGS    AFTER   THE    WORKS    OF   COPLEY,    AS    GIVEN 
BY   MR.    PERKINS. 

Engraver,  DUNKARTON,  Robert.  The  Children  of  George  III. 
Abraham's  Sacrifice. 

Engraver,  EARLOM,  Richard.  Portrait  of  Admiral  Viscount  Dun- 
can. Portrait  of  Lord  Spenser. 

Engraver,  GREEN,  N.  Portrait  of  Henry  Laurens  of  South  Caro- 
lina. 

Engraver,  GREEN,  Valentine.  Samuel  and  Eli.  A  boy  rescued 
from  a  Shark. 

Engraver,  THEW,  Robert.     Picture  of  the  Copley  Family. 

Engravers  not  given.  Portrait  of  President  John  Adams.  Portrait 
of  Lord  Howe.  Portrait  of  Admiral  Bonington.  Portrait  of  Lord 
Mansfield.  Portrait  of  George  IV.  at  a  Review.  A  Head  of  Cop- 
ley; by  himself.  The  Nativity.  The  Tribute  Money.  The  Death 
of  Earl  Chatham.i  The  Death  of  Major  Pierson.  The  Surrender 
of  Admiral  De  Winter.  The  Siege  of  Gibraltar. 

Copley  also  made  an  engraving  from  one  of  his  portraits.  It  bore 
the  following  inscription  :  "  Rev.  William  Welsteed,  of  Boston,  New 
England,  cet.  58,  1753,  J.  S.  Copley,  pinxit  et  fecit. 

Coques,  Gonzales,  born  at  Antwerp  (1618-1684).  Pupil  of 
David  Ryckaert,  the  Elder.  His  best  works  are  groups  of  ladies, 
gentlemen,  and  children,  with  accessories,  in  the  open  air.  These 
were  probably  portraits.  They  are  admirably  colored;  his  white 
draperies  are  exquisite,  and  he  excelled  in  painting  beautiful  hands. 
He  often  introduced  dogs,  and  so  well  were  they  done  that  the  ad- 
miration of  the  beholder  is  divided  between  them  and  the  children 
playing  with  them.  His  backgrounds  were  also  well  done,  but  in 
1  Engraved  by  Francesco  Bartolozzi.  —  C.  E.  C. 


220  COQUES  —  CORNELISSER. 

these  he  was  often  assisted  by  other  artists.  "  The  Verhelst  Family,'' 
his  chef-d'oeuvre,  is  in  the  Queen's  Coll.  at  Buckingham  Palace. 
Dresden  Gall.,  No.  964,  is  said  to  represent  his  own  family.  His  sin- 
gle portraits  are,  as  a  rule,  inferior  to  his  groups.  He  sometimes 
painted  genre  pictures,  such  as  "La  Le9on  de  Musique,"  in  Lord 
Hertford's  coll.  He  was  a  true  lover  of  art,  and  being  rich,  painted 
for  pleasure  rather  than  gain.  His  works  are  not  numerous,  and  arc 
very  valuable. 

Cordieri,  or  Cordier,  Nicholas  (1567-161 2) .  Educated  in  Rome 
as  an  engraver  on  copper.  He  preferred  sculpture,  and  became  dis- 
tinguished in  that  art.  Clement  VHI.  and  Paul  V.  often  visited  his 
atelier.  His  works  are  in  the  Paulina,  S.  John  in  Lateran,  and  S. 
Gregorio  in  Monte  Celio. 

Corenzio,  Belisario.  A  Greek  (1558-1643).  He  studied  at 
Venice,  under  Tintoretto.  Settled  at  Naples,  where  he  gained  great 
influence  and  a  large  fortune,  and  lived  in  elegant  luxury.  His  works 
in  that  city  are  numerous.  His  style  was  the  same  as  that  of  Tin- 
toretto, and  large  frescoes  were  his  best  efforts.  His  pictures  are 
also  in  some  churches  in  Venice.  He  formed  a  cabal  with  Caracciolo 
and  Ribera  (called  Lo  Spagnoletto)  for  the  purpose  of  excluding 
other  Italian  artists  from  Naples.  They  committed  many  outrages, 
and,  it  is  said,  the  crime  of  poisoning  those  whom  they  could  not 
be  rid  of  otherwise.  D'Arpino,  Guido,  Annibale  Carracci,  and,  it  is 
said,  Domenichino,  all  suffered  at  the  hands  of  these  men. 

Coriolano.  The  name  of  a  family  of  artists,  mostly  engravers, 
who  flourished  in  the  last  half  of  the  16th  and  the  early  part  of  the 
17th  centuries.  Cristofano  was  the  most  important,  and  engraved 
the  portraits  for  Vasari's  "  Lives  of  the  Painters,"  published  in  1568. 

Corueille,  Michel,  the  Younger,  born  at  Paris  (1642-1708). 
More  noticeable  as  an  engraver  than  as  a  painter.  His  etchings  are 
the  admiration  of  collectors.  They  are  correct  in  drawing,  grand  in 
composition,  and  masterly  in  execution.  His  S.  Francis  kneeling 
before  the  Cross  is  fine.  The  four  following  plates  came  into  the 
hands  of  a  Roman  print-seller,  Rossi,  who  put  the  name  of  Raphael  on 
them ;  they  are  now  scarce. 

The  Deity  appearing  to  Abraham. 

Abraham  journeying  with  Lot. 

Abraham  discomfiting  the  Army  of  the  Confederate  Kings. 

Abraham  with  his  son  Isaac  setting  out  for  the  Sacrifice. 

Cornelisser,  Cornells,  called  Cornelis  van  Haarlem,  from  his 
birthplace  (1562-1638).  One  of  his  best  works  is  that  by  which  he 
became  known,  and  was  executed  for  the  Guild  of  Marksmen  of  Haar- 
lem. Berlin  Gall.,  No.  734,  "  Bathsheba  Bathing,"  is  one  of  his 
chefs-d'ceuvre.  In  the  Gall,  at  the  Hague  his  "  Murder  of  the  Inno- 
cents "  is  most  unpleasant.  At  Dresden  there  are  mythological  sub- 
jects by  him,  but  although  carefully  finished,  good  in  color,  and  full 


CORNELISSER  —  CORT.  221 

of  force,  it  is  easy  to  see  that  the  only  talent   he  had  was  for  the 
realistic,  and  portrait  painting  was  his  vocation. 

Corona,  Leonardo,  born  at  Murano  (1565-1605).     An  artist  no- 
ticeable  for  his   copies  of  Titian,  of  which  picture-buyers    should 
beware,  since  they  are  sold  as  originals. 
Correggio.     See  Allegri. 

j~<i  j~^  *  Cort,  Cornelius,  born  at  Hoorn,  in  Holland,  1536, 
\^j  \^j  T  died  at  Rome,  1578.  His  first  instructor  was  prob- 
•*  *  ably  Jerome  Cock,  for  whom  he  engraved  some 
plates  published  under  the  name  of  that  master.  He  first  engraved 
after  Dutch  and  Flemish  masters ;  then  went  to  Venice  and  resided  in 
the  house  of  Titian,  and  engraved  some  of  his  finest  works.  He  next 
went  to  Rome,  where  he  established  a  school.  Before  his  time  there 
had  been  few  large  engravings.  He  greatly  advanced  his  branch  of 
art,  and  his  plates  are  much  valued  by  collectors.  He  worked  with 
the  graver  only.  His  execution  was  masterly  and  bold,  his  drawing 
correct,  and  his  landscapes  especially  fine.  Agostino  Carracci  was 
his  pupil.  The  following  is  a  list  of  his  best  prints,  not  given  in  con- 
nection with  the  masters  from  whom  he  copied. 

PORTRAITS. 

Cornelius  Cort. 

Henricus  II.,  Gallorum  Rex;  oval. 

Catherine  de*  Medici. 

Don  Juan  of  Austria;   oval,  with  ornaments.     1578. 

Marcus  Antonius  Moretus;  oval. 

Andrea  Alciati;  oval,  with  ornaments. 

Roger  of  Brussels,  painter. 

Theodore  van  Haarlem,  painter. 

Joachim  Dionatensis,  painter. 

SUBJECTS  AFTER   HIS   OWN   DESIGNS. 

The  Birth  of  the  Virgin.     1568. 

Conception  of  the  Virgin.     1567. 

Presentation  in  the  Temple. 

Repose  in  Egypt.     1568. 

Holy  Family,  S.  Joseph  presenting  a  Pear  to  the  Child. 

The  Last  Supper.     1568.     He  engraved  this  subject  twice. 

A  Crucifix  held  above  a  globe  by  Angels. 

The  Resurrection.     1569. 

S.  Theodore  overcoming  a  Dragon. 

S.  Catherine  crowned  by  two  Angels. 

S.  Veredina  kneeling  before  an  Altar. 

Two  Landscapes  with  Shipwrecks. 

SUBJECTS    AFTER    FLEMISH    ARTISTS  BEFORE    HE  WENT    TO    ITALY. 

Adam  and  Eve  with  the  Serpent;  after  Michael  Coxcie. 
The  Resurrection;  after  the  same.     1568. 


222  CORT. 

The  Descent  of  the  Holy  Ghost;  after  the  same. 

Christ  Triumphant,  with  SS.  Peter  and  Paul;  after  the  same. 

Four  plates  of  the  Rich  Man  and  Lazarus;  after  Hemskerk. 

The  Parable  of  the  Vineyard ;  after  the  same. 

Four  plates  of  the  Parable  of  the  Talents;  after  the  same. 

Six  plates  of  the  history  of  Noah  and  the  Deluge ;  after  F.  Floris. 

Six  plates  of  the  history  of  Abraham  ;  after  the  same. 

Six  plates  of  the  history  of  Jacob  and  Rachel  ;*  after  the  same. 

Ten  plates  of  the  labors  of  Hercules;  after  the  same. 

Four  plates  of  the  history  of  Pluto  and  Proserpine ;  after  the  same. 

Bacchus  and  Venus;  1566;  after  the  same. 

The  Immortality  of  Virtue,  emblematical;  1564;  after  the  same. 

The  Descent  from  the  Cross ;  after  Roger  van  der  Weyde. 

S.  Roch;  after  J.  Speckart.    1567. 

S.  Lawrence ;  after  the  same. 

S.  Dominic  reading;  after  Bart.  Spranger. 

Holy  Family  with  Angels  ;  after  the  same. 

Crowning  of  the  Virgin  ;  after  Giles  Moestaert.     1565. 

The  Acad.  of  Painting  ;  after  Stradan  /  fine. 

SUBJECTS   ENGRAVED   IN  ITALY. 

After  Girolamo  Mutiano. 

S.  Peter  walking  on  the  Water.     1568. 

Christ  crowned  with  Thorns. 

Christ  bearing  his  Cross. 

The  Descent  from  the  Cross,  with  two  ladders. 

The  Descent  from  the  Cross,  with  four  ladders. 

Christ  appearing  to  the  Maries. 

S.  Jerome  meditating. 

A  set  of  seven  landscapes  with  figures,  called  "  The  Seven  Peni- 
tents:" S.  John  Baptist,  Magdalene,  S.  Jerome,  S.  Onophrius,  S. 
Hubert,  S.  Francis  with  the  Stigmata,  and  S.  Francis  in  devotion. 

After  Clovio. 
The  Annunciation. 

Adoration  of  the  Magi,  in  the  form  of  an  Altar. 
Virgin  and  Child;  half  length. 
Christ  preaching  in  the  Temple. 
Baptism  of  Christ. 

The  Crucifixion  between  the  two  Thieves. 
Another  Crucifixion;  a  grand  composition.     1568. 
The  Dead  Christ,  with  the  Maries. 
Entombment  of  Christ. 
Christ  appearing  to  Magdalene. 
Conversion  of  S.  Paul. 
S.  George  and  the  Dragon. 


CORT.  223 

After  Taddeo  Zucchero. 

Creation  of  Adam  and  Eve. 
Presentation  in  the  Temple, 
Nativity;  a  rich  composition. 
Holy  Family,  with  S.  John  and  a  Lamb. 
Miracle  of  the  Loaves. 
Entombment  of  Christ. 
Descent  of  the  Holy  Ghost. 
Martyrdom  of  S.  Agatha. 

After  Federigo  Zucchero. 
Moses  and  Aaron  before  Pharoah. 
Birth  of  the  Virgin.     1578. 
Conception  of  the  Virgin. 
The  Annunciation.     1571. 
The  Nativity.   1568. 
Adoration  of  the  Magi. 
Holy  Family. 
Flight  into  Egypt. 
Woman  taken  in  Adultery. 
Temptation  of  Christ. 

The  Money  Changers  driven  from  the  Temple. 
Resurrection  of  Lazarus. 
The  Woman  of  Samaria. 
Christ  on  the  Mount  of  Olives. 
Christ  taken  in  the  Garden. 
Death  of  the  Virgin. 
Coronation  of  the  Virgin. 

SUBJECTS   AFTER  VARIOUS    MASTERS. 

Parnassus;   after  Polidoro  da  Caravaggio. 

Adoration  of  the  Shepherds ;  after  the  same. 

Repose  in  Egypt;  after  B,  Bassaro. 

Visitation  of  the  Virgin  to  S.  Elizabeth ;  after  Marco  da  Siena, 

The  Nativity;  after  the  same. 

Adoration  of  the  Shepherds  ;  after  Paris  Romano. 

Holy  Family;  after  F.  Baroccio. 

Baptism  of  Christ ;  after  F.  Salviati. 

The  Marriage  at  Cana ;  after  Lorenzo  Sabbatini. 

The  Last  Supper;  after  Livio  Agresti. 

Stoning  of  Stephen ;  after  Marcello  Venusti. 

S.  Jerome  penitent;  after  Riccio  da  Siena. 

S.  Jerome  in  the  Desert,  with  two  Angels;  after  J.  Parmensis. 

S.  Margaret  of  Cortona;  after  Tempesta. 

A  dance  of  Dryads ;  after  II  Rosso. 

The  Three  Fates ;  after  Giulio  Romano. 


224  CORT  —  COSSA, 

Cort,  Henri  de,  born  at  Antwerp,  1742;  died  in  London,  1810. 
Pupil  of  Antonissen  and  G.  Herreyns.  Many  of  his  pictures,  which 
are  landscapes,  are  in  collections  in  England,  in  which  country  he 
lived  many  years.  They  are  well  finished,  and  have  rich  foliage, 
with  cool,  silvery  skies.  He  was  fond  of  openings  in  heavy  foliage, 
with  bright  light  or  sunshine  between,  which  discloses  buildings  and 
other  objects  in  the  distance. 

Corte,  Juan  de  la,  born  at  Madrid  (1587-1660).  Painter  to  both 
Philip  III.  and  Philip  IV.  He  excelled  in  battle  pieces  and  per- 
spective views.  Several  of  his  works  may  be  seen  in  Madrid. 

Cortese,  Jacopo,  called  II  Borgognone,  born  in  Tranche  Conte 
(1621-1676).  One  of  the  most  celebrated  battle  painters.  Pupil 
of  Cerquozzi.  Many  pictures  are  attributed  to  Borgognone  which 
are  the  work  of  his  imitators.  In  the  Borghese  Pal.  there  are  two 
of  his  original  works.  Others  are  in  the  Pitti  Gall.  When  in  the 
height  of  his  career,  his  wife  died.  He  had  not  lived  amicably  with 
her,  and  was  suspected  of  her  murder.  The  sadness  which  this 
accusation  induced  led  him  to  become  a  Jesuit.  Besides  his  pictures 
he  left  a  few  etchings  of  battles,  which  are  uncommonly  effective  in 
light  and  shade,  and  full  of  spirit. 

Cortona,  Pietro  Berrettini  da,  born  at  Cortona  (1596-1669). 
One  of  the  most  prominent  among  that  class  of  painters  called 
machinists.  His  works  prove  that  he  had  great  talent,  in  spite  of 
their  incorrectness  and  superficiality.  He  attempted  to  dazzle  by 
great  effect  rather  than  to  satisfy  judgment  or  good  taste.  He 
acquired  a  passing  reputation  by  his  inventive  powers  and  ready 
execution,  but  is  now  more  justly  valued.  He  painted  a  ceiling  in 
the  Palazzo  Barberini  at  Rome,  and  frescoes  in  the  Pitti  Pal.  in 
Florence.  Some  of  his  smaller  pictures,  good  specimens  of  which 
may  be  seen  in  Paris,  are  pleasing  in  their  bright,  cheerful  tints. 

Cortot,  Jean  Pierre  (1787-1843).  This  sculptor  excelled  in 
design,  but  we  find  a  want  of  deep  feeling  in  expression.  In  the 
Chapelle  Expiatore  the  group  representing  Marie  Antoinette,  sup- 
ported by  Religion,  is  his  work.  He  also  executed  a  group  in  the 
pediment  of  the  Palais  des  Deputes,  symbolical  of  the  glory  of 
France,  and  the  relief  of  "  Napoleon  crowned  by  Victory  "  on  the 
Arc  de  1'Etoile. 

Cosimo,  Piero  di  (1441-1521).  Pupil  of  Cosimo  Rosselli.  Said 
to  have  rivalled  Leonardo  in  his  early  Florentine  days.  He  was  of 
a  gloomy  temperament,  which  is  shown  in  his  works,  especially  in  the 
"  History  of  Perseus,"  in  the  Uffizi.  His  chiaro-scuro  is  good,  but 
depth  of  feeling  is  wanting  in  his  pictures.  His  principal  works  are 
in  Florence,  but  there  are  specimens  in  the  Louvre,  Berlin  Mus.,  etc. 

Cossa,  Francesco.  Little  is  known  of  the  history  of  this  painter. 
His  name  first  appears  in  the  history  of  Ferrara  in  1456.  He  went 
later  to  Bologna,  where  there  are  two  works  of  his,  justly  celebrated. 


COSSA. 


225 


DEATH    OF    8.    MARY  OF  EGYPT.      BY  PIETRO  DA  CORTONA. 

One  is  an  altar-piece  in  the  Gall,  of  Bologna,  representing  the 
Madonna  holding  the  Child  on  her  lap,  with  a  saint  on  each  side, 
and  one  of  the  donors  of  the  picture  kneeling.  It  was  painted  in 
1474.  There  is  much  dignity  in  his  figures;  his  faces  are  of  a  noble 
type,  his  outlines  clear,  his  extremities  well  drawn,  and  his  draperies 
broad ;  but  there  is  a  fixedness  in  all  that  suggests  statues  as  models, 
rather  than  living  and  moving  beings.  His  wall  painting  in  the 
Barracano  is  only  uncovered  on  days  of  high  festival.  It  represents 
an  enthroned  Virgin  within  a  highly  ornamented  arch.  On  each 
side  of  the  throne  angels  hold  candelabra,  and  lower  down  are  figures 
of  ;i  mule  and  female  who  look  up  to  Mary.  It  is  said  that  they 
were  portraits  of  Gio.  Bentivoglio  and  Maria  Vinziguerra,  and  the 
picture  was  painted  at  the  request  of  Bentivoglio.  The  Madonna  was 
a  miraculous  one  which  Cossa  restored,  and  added  the  portraits.  It 
has  been  restored,  so  that  portions  only  of  Cossa' s  work  remain. 
These  are  the  female  in  profile,  the  angels,  the  frame  of  the  Virgin 
and  Child,  and  the  architecture.  Both  are  remarkable  works  for 
their  time. 

15 


226  COSTA  -  COUSIN. 

Costa,  Lorenzo,  born  at  Ferrara  (1460-1536).  There  is  doubt  as 
to  who  were  the  teachers  of  Costa,  but  it  is  easy  to  tell  his  earlier 
from  his  later  works  by  the  change  and  improvement  in  them.  He 
painted  much  in  Bologna,  and  his  works  may  be  seen  in  the  churches 
and  gallery  of  that  city.  In  Ferrara,  too,  in  the  Constabili  and 
other  collections,  there  are  pictures  of  his,  and  in  most  large  collec- 
tions in  Europe.  A  "Dead  Christ,"  at  Berlin,  is  a  good  specimen 
of  his  manner.  Among  Bolognese  artists  he  ranks  next  to  Francia. 
He  was  his  contemporary  and  co-worker.  His  color  is  less  harmo- 
nious and  delicate  than  that  of  Francia,  but  it  is  more  powerful.  In 
some  of  his  works  the  architectural  parts  are  overdone,  as  was  the 
rule  in  Ferrarese  art.  After  the  fall  of  the  Bentivoglio,  who  had 
been  his  patrons  in  Bologna,  Costa  entered  the  service  of  the 
Gonzagas  of  Mantua,  where  he  passed  the  remainder  of  his  life, 
and  executed  as  many  more  works  as  he  had  before  done  in  Bologna 
and  Ferrara. 

Cosway,  Richard,  born  in  Devonshire  (1740-1821).  An  emi- 
nent miniaturist.  He  did  not  confine  himself  to  that  branch  of 
painting,  but  nothing  that  he  did  outside  of  it  compared  in  excel- 
lence with  his  miniatures,  or  added  to  his  reputation.  Small  pictures 
of  Venus,  Cupid,  etc.,  were  his  best  subjects.  There  is  a  charming 
refinement  in  his  miniature  portraits  of  ladies,  which  are  rather  pale 
or  delicate  in  color,  and  often  in  white  dresses  with  light  backgrounds. 

Cotan,  Juan  Sanchez,  born  at  Alcazar  de  S.  Juan,  1561  ;  died 
at  Granada,  1627.  A  painter  monk.  A  pupil  of  Bias  del  Prado. 
His  finest  pictures  were  for  the  Chartreuse  of  Granada.  He  was 
also  a  mechanic,  and  in  the  habit  of  repairing  the  water-pipes  and 
clocks  of  the  convent,  making  alarums,  etc.  The  Mus.  of  Madrid 
has  a  fine  bodegon,  or  kitchen  piece,  by  Cotan,  in  which  is  a  huge 
garden  thistle,  lying  on  a  table  surrounded  by  vegetables,  while 
birds  and  fruits  hang  above. 

Cotes,  Francis,  born  in  London  (1725-1770).  A  portrait  painter 
who  is  justly  celebrated  for  his  pictures  in  crayon,  in  which  he 
excelled.  His  painted  portraits  cannot  be  praised. 

Cotignola,  Girolamo  Marches!  da.  Real  name  Marches] ;  called 
Cotignola  from  his  birthplace  (1475-1550).  Pupil  of  Francesco 
Francia.  His  pictures  prove  him  to  have  been  a  great  artist.  He 
had  two  distinct  styles.  The  first  was  that  of  his  master  ;  the  other 
showed  the  effect  of  Roman  study,  the  works  of  Raphael,  etc.  To 
the  first  belongs  a  "  Coronation  "  in  the  Berlin  Mus.  There  is 
much  sweetness  in  the  heads,  but  the  arrangement  of  the  picture  is 
stiff  and  void  of  grace.  A  "  Madonna"  with  kneeling  Monks,  in 
same  Gall,  shows  his  later  manner. 

Courtois,  Jacques.     See  Cortese. 

Cousin,  Jean,  born  at  Soucy,  1501.  A  painter,  sculptor,  architect, 
and  writer.  Little  is  positively  known  concerning  him.  He  was  origi- 


COUSIN  —  COYPEL.  227 

nally  a  glass  painter,  and  executed  works  of  this  kind  at  Sens.  He 
is  celebrated  for  his  picture  of  the  "Last  Judgment,"  in  the 
Louvre.  It  is  in  minute,  hard  style.  P.  de  Jode  engraved  it  in 
twelve  plates.  He  was  the  author  of  a  book  of  portraiture,  pub- 
lished in  1603,  in  Paris.  The  monument  of  Louis  de  Breze,  in  the 
Cath.  of  Rouen,  has  been  attributed  to  Cousin.  It  is  a  beautiful  work 
of  the  Renaissance  style,  and  is  more  probably  that  of  Jean  Goujon, 
rather  than  Cousin. 

Couston,  Nicholas,  born  at  Lyons,  1658;  died  at  Paris,  1733. 
He  studied  at  Paris  under  his  uncle  (Coysevox) ,  and  took  the  grand 
prize  at  the  Royal  Acad.  at  twenty-three.  He  went  to  Rome,  where 
he  studied  principally  the  works  of  Michael  Angelo  and  Algardi. 
He  made  a  copy  of  the  "  Hercules,"  which  is  now  at  Versailles.  After 
his  return  to  France,  he  was  much  employed.  His  works,  though 
executed  with  spirit,  are  wanting  in  the  purity  of  the  antique.  His 
most  important  production  was  a  colossal  representation  of  the 
"Junction  of  the  Seine  and  Marne."  He  also  executed  a  bronze 
statue,  representing  the  river  Saone,  for  the  city  of  Lyons.  Some 
of  his  works  are  in  the  Cath.  of  Notre  Dame. 

Couston,  Guillaume,  born  at  Lyons  (1678-1746).  Brother  of 
the  preceding.  He  gained  the  grand  prize  of  the  Acad.  and  went 
to  Rome.  Returning  to  Paris,  his  reputation  rapidly  increased. 
Some  of  his  best  works  were  for  the  garden  at  Marly  ;  the  bronze 
statue  of  the  Rhone,  at  Lyons;  a  bas-relief  of  "Christ  with 
the  Doctors,"  at  Versailles ;  and  statues  of  Louis  XIV.  and 
Cardinal  Dubois,  in  the  Musee  des  Monuments  Fran9ais. 

Couston,  Guillaume,  born  at  Paris  (1716-1777).  A  son  and 
pupil  of  the  preceding.  He  took  the  grand  prize  and  went  to  Rome, 
and,  in  1746,  was  appointed  Professor  of  Sculpture,  and  Keeper  of 
the  Sculptures  in  the  Louvre.  He  executed  the  sepulchre  of  the 
father  of  Louis  XVI.  ;  a  bronze  of  the  "  Visitation  "  in  the  chapel  of 
Versailles,  in  bas-relief  ;  and  a  statue  of  St.  Roch  in  the  church  of 
that  saint.  For  the  King  of  Prussia  he  made  statues  of  Mars  and 
Venus  ;  and  a  fine  marble  group  for  the  Jesuits  of  Bordeaux,  repre- 
senting the  "  Apotheosis  of  St.  Francis  Xavier." 

Coypel,  Noel,  born  at  Paris  (1628-1707).  He  was,  when  quite 
young,  employed  at  the  Louvre,  and  became  an  Academician  in 
H;.~I!».  He  was  appointed  director  of  the  French  Acad.  at  Rome, 
whither  he  went  in  1672,  and  presided  for  three  years  with  great 
honor.  He  painted  the  four  easel  pictures  representing  scenes  in 
Roman  history,  now  in  the  Louvre ;  they  were  displayed  in  the 
Rotunda  and  much  admired.  After  he  returned  to  Paris  he  was 
employed  at  the  Tuilcries,  and  when  seventy-eight  years  old  painted 
the  Vault  of  the  ch.  des  Invalides,  which  was  one  of  his  best  works. 
Ho  also  left  the  following  etchings: — 

The  Virgin  caressing  the  Child;  two  sizes. 

The  Holy  Family. 


228  COYPEL  —  CRAESBECKE. 

Coypel,  Antoine,  born  at  Paris  (1661-1722).  Son  of  the  pre- 
ceding. This  artist  has  been  much  admired  by  some,  and  severely 
criticised  by  others.  His  grace  has  been  called  that  of  the  dancino-- 
master,  and  his  effects  too  theatrical.  But  he  was  very  popular, 
was  much  employed  in  the  royal  palaces,  and  made  painter  to  the 
King.  He  also  left  a  considerable  number  of  etchings,  some  of 
which  are  very  fine,  and  all  are  executed  in  a  masterly  and  finished 
style. 

Coxcien  or  Van  Coxcyen,  Michael,  born  at  Mechlin  (1499- 
1592).  Pupil  of  Van  Orley.  He  studied  also  in  Rome,  and  became 
an  imitator  of  Raphael;  indeed,  he  has  been  called  the  Flemish 
Raphael.  In  the  Antwerp  Gall,  there  is  a  "  S.  Sebastian,"  and  a 
"  Triumph  of  Christ  "  by  this  master;  in  the  Mechlin  Cath.  a  "  S. 
Sebastian."  His  frescoes  in  the  ch.  dell'  Anima  at  Rome  are  unim- 
portant. His  ckef-d'ceuvre  was  a  copy  of  the  "  Adoration  of  the  Lamb  " 
by  the  Van  Eycks.  He  painted  this  for  Philip  II.  of  Spain,  and 
was  two  years  in  completing  it.  Much  of  it  is  well  executed.  He 
is  said  to  have  received  more  than  £300,  besides  his  living  while  at 
work  on  it.  This  picture  was  formerly  in  Madrid,  but  was  taken 
away  by  the  French.  Some  portions  of  it  are  in  the  Munich  Gall, 
and  some  at  Berlin. 

Coysevox,  Antoine,  born  at  Lyons  (1640-1720).  Before  he 
was  seventeen  he  had  distinguished  himself  by  a  statue  of  the 
Virgin.  He  studied  in  Paris,  and  progressed  rapidly.  In  1667  he 
was  engaged  by  Cardinal  Furstenberg  to  go  to  Alsace  to  decorate 
his  palace.  This  occupied  him  about  four  years.  When  he  re- 
turned to  Paris  he  executed  a  statue  of  Louis  XIV.  and  was  com- 
missioned by  the  province  of  Bretagne  to  make  an  equestrian  statue 
of  the  same  monarch.  He  became  very  eminent.  Among  his  best 
works  are  :  the  tomb  of  the  Cardinal  Mazarin  ;  the  tomb  of  the 
great  Colbert,  in  S.  Eustache  ;  the  monument  of  Charles  le  Brun, 
in  the  ch.  of  S.  Nicholas  ;  the  statue  of  the  great  Conde  ;  the 
marble  statue  of  Louis  XIV.  in  the  ch.  of  Notre  Dame,  etc.  His 
bust  by  Lemoine  is  in  the  Musee  des  Monuments  Francais. 

Cozens,  John,  died  1799.  A  landscape  painter  and  drawing- 
master.  He  left  many  drawings,  admirably  executed,  which  are 
now  highly  prized  by  connoisseurs. 

Craesbecke,  Joost  Van,  born  at  Brussels,  1608.  Pupil  of 
Adrian  Brower.  He  painted  the  same  class  of  subjects  as  his  mas- 
ter but  did  not  equal  him  in  color  or  execution.  His  works  are  very 
spirited.  On  account  of  having  first  followed  the  trade  of  a  baker, 
and  dying  young  (1641  ?),  his  works  are  rare.  One  of  the  best  is 
in  the  Aremberg  Gall,  and  represents  his  own  atelier,  with  himself 
painting  a  group  of  men  and  women.  This  is  undoubtedly  his 
chef-d'ceuvre.  Kugler  says,  "  The  arrangement  is  easy  *the  heads 
full  of  life  ;  the  keeping  in  a  cool  harmony,  and,  with  decided  light- 


CRAESBECKE  —  CKANACH.  229 

ing,  very  delicate  ;  and  the  careful  and  spirited  execution  of  solid 
impasto." 

Craeyer,  Gaspard  de,  born  at  Antwerp  (1585-1669).  Pupil  of 
Raphael  Van  Coxis  of  Brussels.  A  contemporary  of  Rubens,  who, 
it  is  said,  admired  his  works.  He  was  also  the  friend  of  Vandyck, 
who  painted  his  portrait.  Craeyer' s  pictures  were  mostly  of  Bibli- 
cal subjects.  His  color  was  subdued,  but  truthful  ;  he  had  a  free, 
masterly  touch,  and  his  feeling  for  beauty  sometimes  borders  on  the 
ideal.  He  was  much  admired  in  his  time,  and  fully  occupied. 
Many  of  his  works  were  very  large ;  they  are  well  drawn,  and,  in 
spite  of  their  formality,  impressive  by  their  dignity.  In  the  Mus. 
at  Ghent  he  may  best  be  judged.  The  best  picture  of  the  number 
there,  is  the  "  Coronation  of  S.  Rosalie  by  the  Infant  Christ."  This 
picture  was  carried  away  by  the  French,  and  returned.  The  "  Mar- 
tyrdom of  S.  Blaize,"  in  same  Mus.,  was  his  last  work,  executed  when 
he  was  eighty-six  years  old.  In  the"  Munich  Gall,  there  is  an  im- 
mense enthroned  Madonna,  with  Angels,  surrounded  by  Saints; 
the  lower  figures  are  portraits  of  himself,  his  brother,  sister,  and 
nephew.  He  had  no  wife.  His  own  head  is  fine.  His  portraits 
resemble  those  of  Vandyck.  The  backgrounds  of  his  pictures  were 
sometimes  executed  by  other  artists.  A  Virgin  and  Child  enthroned, 
with  surrounding  saints,  in  the  Vienna  Gall,  is  considered  by  some 
critics  his  chef-d'oeuvre.  It  is  full  of  tender  feelings.  Works  of  his 
are  also  in  the  Louvre,  Brussels  Gall.,  etc. 

Cranach,  Lucas,  born  at 
Kramich  (1472-1553).  His 
*$  family  name  was  Sunder. 
•*  His  style  seems  to  have  been 
formed  by  Matthew  Grimewald.  He  painted  religious,  mythological, 
historical,  and  genre  subjects  ;  he  also  painted  miniatures,  was  an 
engraver,  and  made  drawings  for  wood-cuts.  His  drawing  is  the 
poorest  feature  of  his  works.  His  color  was  good,  his  execution 
finished,  and  his  inventive  powers  varied.  His  characteristics  were 
cheerfulness  and  grace,  rather  than  grandeur  or  dignity,  though  he 
is  not  without  the  latter.  He  retained  his  powers  to  the  time  of  his 
death,  and  his  works  are  numerous.  The  most  important  one  is  the 
altar-piece  at  Weimar.  The  centre  of  this  represents  Christ  on  the 
Cross,  and  his  own  portrait  and  that  of  Luther  is  introduced.  His 
works  are  at  Prague,  Leipsic,  Schneeberg,  and  Gotha,  as  well  as  in 
the  galleries  of  Munich,  Berlin,  Augsburg,  the  National  Gall.,  and 
some  private  collections.  The  "  Fountain  of  Youth,"  at  Berlin,  is  a 
peculiar  picture.  On  one  side  of  the  fountain  old  women  are  with 
much  trouble  assisted  into  the  water,  and  emerge  on  the  other  side 
with  youth  and  beauty.  They  dance  ;  a  feast  is  spread,  etc.,  and  the 
only  sad  thing  is  that  the  men  retain  their  age  and  their  gray  locks. 
His  mythological  pictures  are  naive  and  somewhat  graceful,  but  are 


230 


CRANACH. 


almost  burlesques  upon  good  renderings  of  such  subjects.  He  was 
successful  in  the  representation  of  childhood,  as  is  shown  in  his 
various  pictures  of  Christ  blessing  little  children.  Purely  realistic 
subjects,  such  as  hunting  pieces,  he  treated  well.  His  execution  was 


GROUP  FROM  A  PAINTING  BY  LUCAS  CRANACH. 

so  rapid  that  he  was  called  u  celerrimus  pictor."  He  was  in  the  ser- 
vice of  Frederick  the  Wise,  and  was  retained  by  his  two  successors, 
John  the  Constant,  and  John  Frederick  the  Generous.  When  the 
latter  was  a  prisoner  for  five  years,  Cranach  remained  with  him,  to 


CRANACH  —  CRAWFORD.  231 

cheer  him  by  his  art  and  his  society.  In  Wittenberg  he  was  much 
respected,  and  was  elected  Burgomaster.  His  prints  are  scarce  and 
much  prized.  The  following  are  some  of  the  best. 

Copper-plates. 

Portrait  of  John  Frederick,  Elector  of  Saxony,  with  an  Angel  hold- 
ing a  Crown  of  Laurel;  very  scarce. 

Portraits  of  Frederick  and  John,  two  Electors  of  Saxony;  half 
length  ;  one  holding  a  Chaplet.  1510. 

Christianus  II.     Danorum  rex,  etc. 

Martin  Luther,  in  a  Monk's  Habit. 

Temptation  of  Christ;  L.  C.  W. ;  very  scarce. 

Wood-cuts. 

Hah*  length  of  an  Elector,  with  a  Book,  before  a  Crucifix;  marked 
with  the  Dragon;  1552;  scarce. 

Philip  Melancthon ;  full  length. 

Emperor  Charles  V.  ;  full  length. 

Emperor  Ferdinand;  full  length. 

Adam  and  Eve  in  Paradise.     1509. 

The  Annunciation. 

S.  John  preaching  in  the  Wilderness.     1516. 

The  Passion  of  Christ;  in  fourteen  prints;  entitled  Passio  D.  N. 
Jesu  Christi,  etc.;  1509;  very  fine. 

The  twelve  Apostles;  very  fine. 

Paris  dying  on  Mount  Ida,  visited  by  the  three  Goddesses;  1508; 
fine. 

M.  Curtius  plunging  into  the  Gulf. 

The  great  Tournament.     1509. 

The  little  Tournament.     1509. 

Cuts  in  Chiaro-scuro. 

S.  George  and  the  Dragon. 

S.  Christopher  carrying  the  Infant  Jesus.     1507. 

Venus  and  Cupid. 

Cranach,  Lucas,  the  Younger,  died  1586.  He  formed  his  style 
after  his  father  and  Albert  Diirer.  In  the  principal  ch.  of  Witten- 
berg, there  are  several  of  his  works,  and  they  are  also  in  the  galleries 
at  Munich,  Dresden,  etc.  No  doubt  some  of  the  pictures  attributed 
to  the  father,  were  the  works  of  the  younger.  He  had  grace  and 
sweetness,  and  his  color  was  often  glowing.  He  was  also  a  Burgo- 
master at  Wittenberg. 

Crawford,  Thomas,  born  in  New  York,  1813;  died  in  London, 
1857.  No  striking  event  marked  his  youth,  and  his  advance  in  art 
was  a  healthful  and  systematic  process.  Next  to  Rome,  Munich  is, 
of  all  the  cities  of  Europe,  severely  critical  of  statuary.  It  is  there- 


232  CRAWFOED  —  CREDI. 

fore  sufficient  to  establish  Crawford's  claim  to  eminence  to  say  that, 
at  the  time  of  the  casting  of  his  two  great  statues,  that  German  city 
expressed  its  enthusiasm  by  the  celebration  of  impromptu  festivals. 
At  the  completion  of  the  Beethoven,  some  of  that  composer's  grand- 
est music  was  performed  under  the  united  auspices  of  the  court  and 
the  artists.  When  Crawford  went  to  Munich  to  see  his  Washington 
in  bronze,  on  the  evening  of  his  arrival,  he  was  surprised  to  find  it  in 
the  midst  of  a  large  and  gloomy  arena;  but  suddenly,  as  he  ap- 
proached, numberless  torches  flashed  their  light  upon  his  work,  and  a 
hundred  German  voices  greeted  him  in  a  triumphant  song.  For  years 
the  studio  of  Crawford  was  one  of  the  homes  of  travellers  in  Rome, 
and  he  became,  through  his  works  and  the  charm  of  his  manners,  the 
friend  of  the  lovers  of  art  in  every  country  in  which  the  word  art  is 
used.  The  following  are  his  principal  works  and  the  places  where 
they  may  be  found  :  The  statue  of  Beethoven,  Boston  Music  Hall; 
statue  of  James  Otis,  Chapel  of  Mount  Auburn;  the  "  Indian,"  New 
York  Historical  Society;  the  "  Orpheus,"  "  Adam  and  Eve  after  the 
Expulsion,"  a  "  Shepherdess,"  and  a  bust  of  Josiah  Quincy,  Boston 
Athenaeum;  a  statue  of  "  Flora,"  New  York  Central  Park  ;  "  Chil- 
dren in  the  Wood,"  owned  by  Hon.  Hamilton  Fish,  New  York; 
"Boy  Playing  Marbles,"  by  Hon.  Stephen  Salisbury,  Worcester, 
Mass. ;  the  bust  of  his  wife  when  a  bride,  and  several  busts  o{ 
Washington  were  owned  by  the  late  John  Ward,  of  New  York.  His 
most  elaborate  monumental  works  are  in  Washington,  D.  C.,  and 
Richmond,  Va. ;  while  his  "Pandora,"  "Dancing  Jenny," — for 
which  his  daughter,  now  deceased,  was  the  model, —  "Cupid," 
"Genius  of  Mirth,"  "Flora,"  "Indian  Woman,"  "Hebe  and 
Ganymede,"  "Mercury  and  Psyche,"  "Daughter  of  Herodias," 
"Aurora,"  "Peri,"  etc.,  as  original  or  repetitions,  are  widely  dis- 
tributed. Crawford  executed  no  less  than  twenty-two  bas-reliefs 
from  classic,  Scriptural,  and  other  subjects.  Eighty-seven  plaster 
casts  of  his  works  were  presented  by  Louisa  W.  Crawford  to  the 
commissioners  of  the  Central  Park,  and  are  now  arranged  in  a  building 
where  they  can  be  seen  by  visitors.  His  works  embody  the  history 
of  his  life,  in  which  there  were  few  remarkable  events.  The  disease 
of  which  he  died  was  extremely  painful,  a  tumor  on  the  inner  side  of 
the  orbit  of .  the  eye.  The  pressure  on  the  brain  was  removed  by 
medical  skill,  and  he  retained  his  mind  until  his  last  moment.  His 
remains  were  brought  to  New  York  and  interred  at  Greenwood.  As 
we  consider  his  life,  it  would  almost  seem  from  the  intensity  of  his 
application  and  the  results  of  his  labor,  that  the  time  of  his  early 
death  had  been  revealed  to  him  and  urged  him  on  to  work  while  his 
day  lasted. 

Credi,  Lorenzo  di,  died  1537.  A  fellow-pupil  with  Leonardo  da 
Vinci  under  Andrea  Verocchio.  He  surpassed  his  teacher,  but  not 
Leonardo.  His  favorite  subjects,  and  those  in  which  he  best  sue- 


CREDI  —  CRIVELLI.  233 

ceeded,  were  Madonnas  and  Holy  Families.  His  best  pictures  are  in 
Florence,  at  the  Uffizi,  and  an  "  Adoration  of  the  Shepherds," 
formerly  in  S.  Chiara,  now  in  the  Acad.,  is  one  of  his  happiest  efforts. 
There  is  a  Madonna  and  Child  with  Saints,  in  the  Louvre,  which 
Vasari  called  his  capo  &  opera.  The  Berlin  Mus.  has  fine  specimens 
of  the  pictures  of  Credi,  and  there  are  two  small,  but  characteristic 
ones  in  the  National  Gall.  Credi  copied  the  works  of  Leonardo  most 
successfully. 

Cresilas.  A  sculptor  of  Athens  who  competed  with  Phidias,  Poly- 
cletus,  and  Phradmon  in  making  the  statue  of  an  Amazon  for  the 
Ephesian  temple  of  Diana.  A  "  Wounded  Amazon  "  in  the  Capitol 
at  Rome,  is  believed  to  be  a  copy  of  that  by  Cresilas,  who  took,  as 
we  are  told,  the  third  rank  in  the  contest.  He  also  made  a  beautiful 
bust  of  Pericles,  and  there  are  three  now  existing  which  have  some 
claims  to  being  copies  of  it;  they  are  in  the  Vatican,  the  British  Mus., 
and  the  Glyptothek  at  Munich. 

Crespi,  Gio.  Battista,  called  II  Cerano  from  his  birthplace  (1557- 
1633).  One  of  the  most  eminent  pupils  of  the  Procaccini  school  of 
Milan.  He  was  mannered,  but  he  was~also  powerful.  The  Brera 
has  some  excellent  works  of  his,  and  there  is  a  fine  one  in  the  Berlin 
Mus.  He  was  also  a  sculptor  and  architect,  and  executed  the  colos- 
sal statue  of  S.  Charles  Borromeus,  in  the  Lago  Maggiore,  for  his 
patron,  Card.  Borromeo. 

Crespi,  Daniele  (1590-1630).  Son  of  the  preceding.  Also  dis- 
tinguished among  Milanese  painters. 

Crespi,  Giuseppe  Maria,  called  Lo  Spagnolo  di  Bologna  (1665- 
1747).  Pupil  of  Cignani.  He  had  a  capricious  fancy,  and  was 
tempted  to  caricature,  even  in  religious  subjects.  His  manner  of 
working  was  as  coarse  as  that  of  his  master  was  fine.  His  execution 
was  free,  but  in  some  cases  so  slight,  that  parts  have  disappeared. 
His  figures  sometimes  appear  to  be  thrown  upon  the  canvas.  Of  his 
works  at  Dresden,  that  of  the  "  Seven  Sacraments  "  is  remarkable. 
The  "  Cumrcan  Sibyl,"  at  Vienna,  is  a  good  specimen  of  his  style. 
He  was  a  good  copyist  of  the  old  masters.  He  left  several  etchings 
from  his  own  designs. 

Cristofori,  Fabio,  and  his  son,  Pietro  Paolo.  Two  fine  mosaists. 
They  executed  for  S.  Peter's  the  "  Communion  of  S.  Jerome,"  after 
Domenichino;  the  "  S.  Petronilla,"  after  Guercino,  and  the  "Bap- 
tism of  Christ,"  after  Carlo  Maratti. 

Crivelli,  Carlo,  born  at  Venice.  His  earliest  known  work  is  dated 
1468,  and  his  latest,  1495.  He  was  one  of  the  best  of  the  tempera 
painters  of  Venice.  His  pictures  are  well  executed,  and  not  badly 
colored,  but  they  are  hard  and  ugly  in  expression.  He  was  fond  of 
painting  garlands  of  flowers,  or  fruit  on  gold  grounds,  as  ornaments 
to  his  pictures ;  these  were  excessively  rigid  in  effect.  When  his 
works  are  chronologically  studied,  there  is  much  interest  in  tracing 


234 


CRIVELLI  —  CROME. 


the  changes  and  improvements  in  his  manner.  The  honor  of  knight- 
hood was  conferred  on  Crivelli  in  1490,  by  Prince  Ferdinand,  of 
Capua.  Some  of  the  best  works  of  this  master  in  any  Gall,  are  in 
that  of  London.  The  Brera,  Berlin  Mus.,  Borghese  Pal.,  Vatican 


8.  LUCIA.      BY  CRIVELLI. 

Gall.,  and  Kensington  Mus.,  all  have  his  pictures.  A  "  Pieta  "  of 
1493,  now  in  the  Oggioni  Coll.  at  Milan,  was  his  best  and  probably 
last  work.  He  had  much  talent,  but  his  pictures  are  not  pleasant. 
They  are  very  numerous,  and  are  in  many  private  collections  and  in 
the  churches  of  Massa  and  other  places. 

Crome,  John,  born  at  Norwich  (1769-1821).     A  good  landscape 


CROME  —  CUYP.  235 

painter.  His  sun  effects  and  moonlight  scenes  are  especially  excel- 
lent. Sandy  or  pebbly  beaches  he  also  painted  well,  and  his  water 
views  were  made  effective  by  bright  lights  thrown  on  the  water  in 
the  distance.  His  color  is  sometimes  very  rich.  He  also  left  some 
etchings,  which  are  good. 

Cross,  John,  born  at  Tiverton  (1819-1861).  Studied  in  Paris. 
In  1847  he  gained  a  prize  of  £300  for  his  picture  of  "  Richard  Coeur 
de  Lion  forgiving  Bertrand  de  Gourdon,"  which  was  purchased  by 
the  English  government,  and  is  now  at  Westminster  Pal.  For 
several  years  he  sent  pictures  to  the  Exhibition,  but  in  the  end  his 
"  Storm  Scene  on  the  Cliffs  "  was  rejected  by  the  Acad.  He  died 
in  great  poverty,  and  broken-hearted  at  his  want  of  success  in  the 
art  he  loved. 

Curia,  Francesco,  born  at  Naples  (1538-1610).  This  artist 
painted  several  imposing  altar-pieces  for  churches  in  Naples.  That 
in  S.  Maria  della  Pietk  has  been  a  model  to  Neapolitan  painters. 

Curradi  or  Currado,  Francesco,  born  in  Florence  (1570-1661). 
Pupil  of  Battista  Naldini.  His  best  works  were  historical  subjects, 
easel  size.  Two  of  his  finest  ones  are  in  the  Florence  Gall. 

Cuyp,  Jacob  Gerritze,  called  Old  Cuyp,  born  at  Dort(1580?- 
1642?).  Although  much  eclipsed  by  his  son,  this  artist  merits  hon- 
orable mention.  A  pupil  of  Abraham  Bloemaert.  He  painted  land- 
scapes and  battle  pieces,  but  excelled  most  in  portraits.  He  was 
skilful  in  the  arrangement  of  family  groups.  His  color  was  fine,  and 
may  be  described  as  sunny.  Berlin  Mus.,  No.  743 ;  Amsterdam  Gall., 
No.  60. 

Cuyp,  Albert,  born  at  Dort  (1606-1672).  Son  and  pupil  of  the 
preceding.  Little  is  known  of  the  life  of  this  great  painter.  His 
favorite  subjects  were  landscapes,  with  cattle  and  other  animals. 
Frequently  they  were  lying  beside  a  river.  He  also  painted  winter 
scenes  with  good  effect;  still-life,  fowls,  hens,  ducks,  etc.,  were  all 
painted  by  him.  He  was  remarkable  for  his  atmospheric  effects,  and 
as  we  look  at  his  pictures  we  can  almost  feel  the  chill  of  the  damp 
morning,  or  the  heat  of  the  high  noon  which  he  has  painted.  His 
colors,  too,  are  managed  with  great  skill;  and  the  contrasts  of  light 
and  shade,  of  dull  and  bright,  were  perfectly  understood  by  him. 
But  there  is  a  certain  monotony  in  the  heads  of  his  cattle;  and  his 
pictures  were  never  very  carefully  finished.  He  was  not  appreciated 
for  a  long  time,  and  his  paintings  had  no  large  sale  even  at  moderate 
prices.  The  English  first  gave  them  their  proper  value,  and  many 
of  them  are  in  England,  both  in  public  and  private  collections. 
Smith's  Catalogue  numbers  336  of  his  pictures.  No.  53,  National 
Gall.,  is  called  his  masterpiece,  and  represents  a  morning  landscape 
with  two  cows  reposing  in  the  foreground,  and  a  woman  talking  with 
a  horseman.  Some  of  his  works  are  in  the  Munich  Gall,  and  the 
Louvre,  but  are  wanting  in  most  Continental  collections. 


236  DADDI  —  DAMER. 


D. 

Daddi,  Bernardo,  born  at  Arezzo.  Flourished  about  1355.  Pupil 
of  Spinello  Aretino.  Some  of  his  works  remain  in  Florence,  and 
his  name  is  among  those  who  approved  the  original  statutes  for  the 
founding  of  the  Compagni  of  Florence.  The  object  of  this  so- 
ciety was  the  meeting  together  of  artists  to  afford  each  other  assist- 
ance, and  to  thank  God  for  the  prospered  state  of  art  at  that 
time.  It  seems  to  have  been  largely  a  religious  institution,  and  assem- 
bled in  a  chapel  of  S.  Maria  Nuova. 

Daelliker,  John  Rudolph  (1694-1769).  A  Prussian  portrait 
painter  who  lived  at  Zurich  and  Berne  several  years,  and  then  studied 
in  Paris,  after  which  he  returned  to  his  own  country.  His  drawing 
was  correct,  his  color  beautiful,  and  his  execution  masterly. 

Dahl,  Michael,  born  at  Stockholm,  1656  ;  died  in  London,  1743. 
After  visiting  France  and  Italy  he  settled  in  England,  where  he 
made  a  fine  reputation  as  a  portrait  painter. 

Dahl,  John  Christian  (1788-1857).  A  Norwegian  landscape 
painter.  He  was  intended  for  the  Church,  but  he  loved  art  too  well 
to  devote  himself  to  anything  else.  In  1811  he  went  to  Copenhagen 
and  found  friends  who  enabled  him  to  study  at  the  Acad.  Before 
this  he  had  received  but  little  instruction.  He  went  afterwards  to 
Dresden,  and  later,  in  the  suite  of  Prince  Christian  of  Denmark,  he 
visited  the  Tyrol  and  Italy.  He  was  an  acute  observer,  and  an 
accurate  imitator  of  nature,  and  represented  her  well  in  various 
forms ;  but  his  best  works  were  representations  of  stormy  northern 
seas,  although  his  Italian  skies  and  sultry  atmospheric  effects,  and 
his  Tyrolese  passes,  are  well  painted.  His  works  are  to  be  seen  in 
all  parts  of  Europe ;  some  are  in  America,  but  the  larger  number  are 
in  the  galleries  of  Copenhagen  and  in  Berghen,  his  native  city,  and 
other  places  in  Norway. 

Dalmasio,  Lippo  di,  born  at  Bologna.  Flourished  towards  the 
end  of  the  14th  century.  Called  "  dalle  Madonne,"  on  account  of  the 
beauty  of  his  Madonnas.  It  is  said  that  his  works  were  done  in  oil 
colors,  which  is  interesting  in  connection  with  the  much-discussed 
question  of  the  time  when  these  were  first  used. 

Darner,  Hon.  Anne  Seymour  (1748-1828).  A  distinguished 
sculptor.  Daughter  of  Field-Marshal  Conway.  While  still  young, 
in  conversation  with  Hume,  Miss  Conway  criticised  some  plaster 
casts  they  had  seen.  Hume  told  her  it  was  more  easy  to  criticise 
than  to  do  better.  She  immediately  obtained  some  wax  and  mod- 
elled a  head  which  she  showed  him.  It  had  merit  enough  to  surprise 
him,  but  he  suggested  that  it  was  much  more  difficult  to  chisel  than 
to  model.  She  then  proceeded  to  execute  a  bust  in  stone,  which, 
though  rude,  demanded  his  admiration.  From  this  time  she  devoted 


DAMER  —  DANIELL.  237 

herself  to  art.  She  studied  under  Ceracchi,  and  in  the  studio  of  Ba- 
con acquired  the  technicalities,  and  learned  the  elements  of  anatomy 
from  Mr.  Cruikshank.  She  visited  Italy  in  order  to  better  study 
Grecian  art,  and  endeavored  always  to  imitate  its  pure  and  simple 
style.  She  married  the  Hon.  John  Darner  in  1767,  but  the  marriage 
was  an  unhappy  one,  and  he  committed  suicide  in  1776.  She  had 
travelled  considerably  and  had  written  some  things  which  she  at  one 
time  intended  to  publish,  but  in  her  will  she  commanded  all  her 
papers  to  be  destroyed,  and  among  them  were  not  only  her  MSS. 
but  many  interesting  and  valuable  letters.  She  declared  that  the 
distinction  of  being  an  artist  was  all  that  she  desired,  and  requested 
that  her  working  apron  and  her  tools  should  be  placed  beside  her  in 
her  coffin.  She  executed  a  large  number  of  works,  among  which  are 
the  following:  A  marble  statue  eight  feet  high,  in  the  Registry  Office, 
Edinburgh;  two  colossal  heads  in  Portland  stone,  which  orna- 
ment the  key-stone  of  the  bridge  at  Henley-upon- Thames;  a  bust  of 
Fox,  which  she  presented  to  Napoleon  Bonaparte  in  person  in  1815, 
and  in  return  for  which  she  received  a  snuff-box  with  the  portrait  of 
the  emperor  set  in  diamonds;  a  bust  of  Lord  Nelson,  who  was  her 
friend,  and  sat  for  this  bust  immediately  after  his  return  from  the 
Battle  of  the  Nile ;  this  she  presented  to  the  city  of  London,  and  it  is 
in  the  Common  Council  Chamber  at  Guildhall ;  busts  of  her  father, 
of  Sir  Humphry  Davy,  of  her  mother,  and  of  herself.  One  of  the 
latter  is  in  the  Royal  Gall,  at  Florence,  and  another  is  in  the  British 
Museum. 

Danby,  Francis,  born  in  Wexford  County,  Ireland  (1793-1861). 
He  was  most  successful  as  a  painter  of  calm  evenings  at  sea  ;  gen- 
erally sunset  scenes,  with  which  he  frequently  connected  some  poetic 
incident  or  sentiment. 

Dance,  Sir  Nathaniel,  born  in  London  (1734-1811).  Pupil  of 
Francis  Hayman,  and  travelled  in  Italy  for  improvement  during  sev- 
eral years.  He  painted  in  various  styles.  Some  of  his  portraits  are 
likened  to  those  of  Sir  Joshua  Reynolds.  Some  of  his  works  remind 
one  of  Hayman  or  of  Hogarth,  and  again  they  are  more  like  Italian 
paintings.  Dance  married  a  fortune,  had  a  scat  in  Parliament,  was 
made  a  baronet,  and  took  the  name  of  Holland.  He  did  not  abandon 
painting  entirely,  but  sometimes  sent  works  to  the  Exhibition  as  an 
amateur. 

Dandini.  The  family  of  artists  by  this  name  were  quite  important 
in  their  time.  The  most  distinguished  was  Vincenzo,  a  pupil  of  Pietro 
da  Cortona,  whose  style  he  imitated.  Some  of  his  works  remain  in 
Florence.  He  died  1675. 

Daniell,  Thomas,  born  at  Kingston-on-Thames  (1 749-1 840).  Dis- 
tinguished for  pictures  of  Oriental  scenery.  Together  with  his 
nephew,  William  Daniell,  he  passed  ten  years  in  India,  and  made 
illustrations  for  a  work  descriptive  of  that  country,  which  was  pub- 


238  DANIELL  —  DAVID. 

lished  in  six  volumes,  in  1808.  Their  works  are  so  united  that  they 
must  be  considered  as  almost  one  artist. 

Dannecker,  Johana  Heinrich,  born  at  Stuttgart  (1758-1841). 
He  gained  the  prize  in  the  Acad.  founded  by  the  Duke  Charles 
Eugene.  His  statue  was  that  of  Milo.  This  entitled  him  to  the 
royal  pension,  with  which  he  went  to  Paris,  from  there  to  Rome,  where 
he  remained  seven  years,  and  then  returned  to  Wurtemburg  to  be 
appointed  Director  of  the  Acad.  with  15,000  fr.  a  year.  For  fifteen 
years  he  was  considered  a  fine  sculptor,  but  his  health  failed,  and 
others  of  his  country  surpassed  him.  There  was  a  delicate  feeling 
for  nature,  and  noble  expression  in  the  heads  of  Dannecker,  and  his 
figures  were  light  and  graceful.  The  "  Ariadne  "  in  the  coll.  of  M. 
Bethmann  of  Frankfort  is  one  of  his  best  known  and  most  admirable 
works.  He  also  executed  a  Cupid,  a  statue  of  Alexander,  and 
the  monument  of  Count  Zeppelin.  His  figure  of  Christ,  upon  which 
he  labored  eight  years,  belongs  to  the  Emperor  of  Russia.  His 
statues  and  portrait-busts  are  numerous.  The  ' '  Maiden  lamenting 
the  Dead  Bird  "  is  fine ;  in  Stuttgart,  on  a  fountain  in  Neckar  Street, 
there  is  a  Nymph  pouring  out  water,  and  on  a  reservoir  in  the  palace 
gardens  two  reposing  Nymphs,  which  display  the  fine  architectural 
taste  of  this  master. 

Dante,  Girolamo,  celebrated  for  his  copies  of  his  master,  Titian. 
Sometimes,  it  is  said,  Titian  finished  his  works  with  a  few  strokes, 
and  then  it  was  impossible  to  see  that  they  were  copies.  His  own 
designs  were  meritorious.  There  is  a  good  work  attributed  to  him 
in  S.  Giovanni  in  Olio. 

Dario  da  Treviso.  Flourished  about  the  middle  of  the  15th 
century.  Disciple  of  Squarcione.  But  one  of  his  pictures  remains, 
and  that  is  a  "  Virgin  of  Mercy  "  in  the  Bassano  Gall.  It  was  the 
custom,  in  his  time,  to  paint  the  outsides  of  houses,  and  many  deco- 
rated by  him  are  seen  at  Serravalle,  Conegliano,  and  Treviso. 

Daulle',  Jean,  born  at  Abbeville  (1703-1763).  One  of  the  most 
eminent  and  excellent  engravers  of  his  time. 

Daven,  Leon,  called  also  Daris  and  Danet,  an  engraver  whose 
birthplace  is  not  known.  He  distinguished  himself  in  Florence  and 
Rome  about  1540.  When  Primaticcio  went  to  France,  Daven  ac- 
companied him,  and  engraved  plates  after  his  works.  His  plates  are 
esteemed  by  collectors.  They  are  frequently  marked  with  his  ini- 
tials, L.  D. 

David,  Gerhard,  born  at  Oudewater.  Settled  at  Bruges  1487,  and 
died  there  1523.  In  the  Acad.  of  Bruges  there  are  two  of  his  pic- 
tures illustrating  the  judgment  of  Cambyses  upon  the  unjust  judge, 
Sisamnes.  The  first  represents  his  seizure,  and  the  second  his  flay- 
ing. Herodotus  says  that  the  son  of  Sisamnes  succeeded  his  father 
in  office,  and  that  his  judgment-seat  was  covered  with  his  father's 
skin.  The  pictures  of  David  have  the  figures  three7  quarters  life  size. 


DAVID  —  DEAS.  239 

They  are  well  colored,  and  the  heads  are  expressive,  but  the  subject 
of  the  second  is  too  horrible.  In  the  same  Gall,  there  are  also  two 
miniatures  on  vellum  by  this  artist. 

David,  Jacques -Louis,  born  at  Paris  (1748-1825).  He  was  con- 
sidered the  first  master  in  modern  art,  at  the  close  of  the  18th  cen- 
tury. He  had  great  power,  but  his  taste  and  judgment  may  well  be 
questioned.  So  great  was  his  admiration  for  the  antique  that  his 
pictures  are  repetitions  of  the  ideal  Greek  physical  proportions,  and 
his  costumes  might  be  called  heroic  Greek.  Some  of  his  works  are 
merely  groups  of  statues  —  the  flesh  is  as  hard  as  marble.  He  was 
active  in  the  revolution,  but  returned  to  the  practice  of  his  art. 
Napoleon  honored  him,  and  he  painted  the  "  Passage  of  S.  Bernard," 
and  other  scenes  from  the  life  of  the  Emperor.  After  the  return  of 
the  Bourbons,  David  was  banished,  and  lived  in  Brussels,  where  he 
executed  many  of  his  best  works.  His  family  were  not  allowed  to 
bury  him  in  France. 

David,  Pierre  Jean,  born  at  Angers  (17897-1856).  He  went 
when  young  to  Paris  to  study  sculpture.  He  was  in  very  poor  cir- 
cumstances until  he  by  some  means  made  the  acquaintance  of  David 
the  painter,  who  instructed  him  gratuitously,  and  otherwise  assisted 
him.  In  1811  he  obtained  a  prize  which  secured  to  him  a  pension, 
and  enabled  him  to  go  to  Rome.  He  studied  closely,  and  upon  his 
return  to  Paris  was  constantly  employed.  He  executed  many  colos- 
sal works,  large  numbers  of  busts,  and  more  than  90  medallions. 
Among  his  works  may  be  mentioned  the  statue  of  Mme.  de  Stael ; 
that  of  Talma,  for  the  Theatre  Francais;  colossal  statue  of  King 
Rene  at  Aix  ;  Tension's  monument  at  Cam  bray  ;  statues  of  Cuvier; 
one  of  Jefferson  in  Philadelphia,  etc.,  etc.  He  executed  busts  of 
Goethe,  Schelling,  Dannecker,  and  many  others.  He  was  a  Knight 
of  the  Legion  of  Honor,  a  member  of  the  Institute,  and  a  Profes- 
sor in  the  Acad.  of  Painters,  besides  belonging  to  other  academies. 
He  is  called  David  of  Angers  to  distinguish  him  from  David  the 
painter. 

Dawe,  George,  died  1829.  An  English  portrait  painter  who 
went  to  Russia,  and  is  said  to  have  painted  400  portraits  of  the 
leaders  of  the  Russian  army  which  fought  against  Napoleon  I. 

Deas,  Charles,  born  in  Philadelphia  (1818--  — ).  From  his  ear- 
liest youth  his  inclination  for  art  was  plainly  manifested.  He  was 
of  a  nervous  temperament  and  strangely  sensible  to  color.  He  had 
executed  several  pictures  when  he  saw  Catlin's  Indian  Gallery. 
From  this  time  he  desired  to  represent  scenes  from  Indian  life,  and 
as  his  brother  was  stationed  at  Fort  Crawford,  every  opportunity 
was  his  for  the  study  of  their  wild  habits  and  customs.  He  at- 
tended their  councils,  feasts,  dances,  etc.  He  established  himself  at 
St.  Louis,  and  tjiere  found  patronage  and  appreciation.  He  was 
deranged  in  his  later  life,  and  died  in  an  asylum  where  he  had  been 


240  DEAS  —  DELACROIX. 

for  a  long  time.  The  following  are  the  subjects  of  some  of  his  pic- 
tures :  "  Long  Jake;  "  "  The  Trapper;  "  «  The  Wounded  Pawnee;  " 
two  scenes  from  the  history  of  Wenona ;  "The  Last  Shot;" 
"  Hunters  on  the  Prairie,"  etc. 

Decamps,  Alexander  Gabriel,  born  at  Paris  (1803-1860).  A 
painter  of  landscapes,  animals,  and  genre  pictures.  He  often  repre- 
sented Eastern  scenes  with  striking  lights  and  effective  contour.  At 
the  Paris  International  Exhibition  of  1855,  there  were  forty -four 
paintings  besides  drawings  by  this  artist.  His  subjects  were  always 
popular,  because  illustrative  of  the  life  about  him.  He  was  thrown 
from  his  horse  against  a  tree,  and  killed,  while  hunting  in  the  forest 
of  Fontainebleau. 

Decker  or  Dekker.  There  are  nine  artists  of  this  name  men- 
tioned by  different  writers,  and  the  confusion  concerning  them  is  so 
great,  that  it  is  quite  impossible  to  give  a  clear  account  of  any  one. 
The  Decker  lived  in  the  1 7th  century,  and  painted  pictures  closely 
resembling  those  of  Ruysdael,  and  like  the  latter  excelled  in  represent- 
ing river  scenery  and  running  water.  His  works  are  well  finished, 
his  perspective  correct,  his  cottages  well  done,  and  though  his  tone 
of  color  is  sometimes  dark,  he  relieves  it  by  silvery  skies.  His 
works  are  placed  in  the  most  important  collections.  The  figures  in 
some  of  his  pictures  were  painted  by  Adrian  Van  Ostade  and  A.  Van 
deVelde. 

Deelen,  Dirk  Van,  born  at  Heusden.  Flourished  from  1640  to 
1670.  He  painted  architectural  subjects,  both  exterior  and  interior. 
His  perspective  was  good,  his  color  clear  and  pleasing,  and  his  exe- 
cution finished.  His  indication  of  separate  forms  is  somewhat  too 
prononce,  and  reminds  us  of  older  artists.  The  figures  in  his  pictures 
were  done  by  others.  His  works  are  not  numerous  in  public  galleries. 
The  Vienna  Gall,  has  two  of  the  finest,  both  representing  grand 
buildings  with  columns.  At  the  Mus.  of  the  Hague,  there  is  a  view 
of  the  Binnenhof  with  the  last  great  meeting  of  the  States  General, 
which  took  place  in  1651;  Berlin  Gall.,  a  view  of  antique  buildings, 
dated  1647,  clear  and  delicate  in  tone.  One  of  his  best  pictures  in 
England  is  a  church  interior  in  the  coll.  of  Mr.  H.  T.  Hope. 

Delacroix,  Eugene,  born  at  Charenton,  S.  Maurice  (1799-1663). 
Under  the  Directory,  his  father  had  been  Minister  of  Foreign  Affairs, 
and  held  other  offices  of  honor.  The  son  had  the  prospect  of  some 
fortune,  but  all  was  lost,  and  he  was  obliged  to  struggle  hard  for  the 
barest  necessities  of  existence.  He  entered  the  studio  of  Guerin 
when  eighteen  years  old,  and  there  became  the  friend  of  Ge'ricault. 
He  first  exhibited  in  1822,  and  his  subject  was  that  passage  from 
Dante's  u  Inferno "  in  which  the  poet  recognizes  some  of  his  old 
townspeople  among  the  condemned  who  float  upon  the  lake  which 
surrounds  the  infernal  city.  This  work  made  a  great  impression. 
It  was  purchased  for  the  Luxembourg  Gall.  Baron  Gros  was  so 


DELACROIX  —  DELFT.  241 

much  pleased  with  it,  that  he  invited  Delacroix  to  his  studio,  and 
assured  him  he  could  obtain  the  "  prix  de  Rome."  But  Delacroix 
was  not  anxious  to  follow  in  the  accepted  path,  and  so  offended  those 
in  power,  that  he  received  no  large  commissions,  and  after  painting 
the  "  Massacre  of  Scio  "  (Luxembourg  Gall),  and  "  Sardanapalus," 
he  was  compelled  to  execute  small  works  for  private  collections  as  a 
means  of  support.  He  also  designed  illustrations  for  "  Faust "  and 
"  Hamlet."  The  former  were  approved  by  Goethe  himself.  In  1830, 
he  went  to  Spain,  Algiers,  and  Morocco,  and  on  his  return  painted  a 
picture  of  three  Algerine  ladies  smoking  the  narghile.  He  now  found 
a  patron  in  M.  Thiers,  Minister  of  the  Interior  under  the  new  order 
of  things,  and  received  orders  for  the  decoration  of  the  Throne-room 
in  the  Chamber  of  Deputies.  He  was  severely  criticised  by  other 
artists,  but  his  work  when  finished  was  magnificent  in  effect.  He 
was  prosperous  from  this  time,  and  some  of  his  large  pictures  were 
placed  at  Versailles ;  others  are  in  many  of  the  churches  of  Paris, 
and  another  important  commission  was  given  him  in  the  library  of 
the  Chamber  of  Peers.  His  works,  when  considered  as  a  whole,  are 
powerful  in  the  extreme,  but  lose  their  effect  when  examined  in 
portions.  His  color  was  rich  and  bold,  his  design  free  and  spirited, 
and  his  expression  well  suited  to  his  subject.  His  works  are  nu- 
merous and  varied  in  character.  He  became  a  member  of  the  Insti- 
tute in  1857. 

Delaroche,  Paul,  born  at  Paris  (1797-1856).  Pupil  of  Baron 
Gros.  A  great  painter.  His  best  works  are  illustrative  of  subjects 
of  much  interest,  such  as  the  "  Death  of  the  Duke  de  Guise,"  1835; 
"  Napoleon  at  Fontainebleau,"  1847;  "  Cromwell  contemplating  the 
Remains  of  Charles  I. ;  "  "  Condemnation  of  Marie  Antoinette,"  etc. 
His  largest  work  is  the  "  Hemicycle,"  in  the  theatre  of  L'ficole  des 
Beaux  Arts,  at  Paris.  It  contains  seventy-five  life-size  figures,  and 
employed  him  three  years.  It  represents  the  arts  of  different  coun- 
tries and  times,  by  groups  of  portraits  of  the  artists  of  those  times 
and  nations.  Delaroche  married  the  daughter  of  Horace  Vernet,  and 
it  is  said  that  the  figure  which  symbolizes  Gothic  architecture  is  her 
portrait.  The  pictures  of  Delaroche  appeal  forcibly  to  the  heart. 
His  design  was  in  a  good  degree  academical,  or  uniform,  but  many 
of  his  works  are  free  from  conventionalities.  His  color  has  rarely 
been  excelled,  and  in  some  of  his  small  religious  pictures,  there  is 
sentiment  of  a  high  character.  He  was  a  member  of  the  Institute,  a 
professor  in  L'ficole  des  Beaux  Arts,  and  received  the  Cross  of  an 
officer  of  the  Legion  of  Honor.  His  principal  works  have  been  well 
engraved  by  S.  W.  Reynolds,  Dcsclaux,  Henriquel-Dupont,  Martinet, 
A.  and  J.  Frai^ois,  and  other  fine  engravers. 

Delft,  Jacob.     A  Dutch  portrait  painter   of  the    16th  century. 
There  is  u  very  remarkable  female  portrait  by  him  in  the  Stadel  In- 
stitute, at  Frankfort. 
16 


242  DELFT  —  DESPOETES. 

Delft,  Johann  William,  born  at  Delft.  Son  of  the  pre- 
ceding.  There  is  in  the  Hotel  de  Ville,  at  Delft,  an  archery 
piece  dated  1592,  by  this  artist.  But  he  was  a  better  en- 
graver than  painter,  and  at  length  gave  all  his  time  to  that 
art.  He  engraved  many  portraits,  especially  after  Mirevelt,  whose 
daughter  he  married.  His  heads  are  finely  drawn. 

Delli,  Dello,  born  about  1404.  He  was  about  twenty  years  old, 
when  his  father,  who  was  keeper  of  the  fortress  of  Montecerro,  sur- 
rendered to  the  Duke  of  Milan.  For  this  he  was  sentenced  to  death, 
and  fled  to  Sienna.  From  here  they  went  to  Venice,  and  at  last 
Dello  emigrated  to  Spain,  and  lived  in  Seville  many  years.  He 
gained  a  fortune  and  the  title  of  "  Cavaliere,"  which  was  recognized 
in  Florence  upon  his  return  to  Italy.  In  the  ch.  of  S.  M.  Novella,  at 
Florence,  there  are  twenty-four  pictures  representing  episodes  from 
the  Genesis,  said  to  be.  the  work  of  Dello.  These  are  very  weak  and 
imperfect,  and  it  does  not  appear  that  one  who  painted  them  could 
have  gained  reputation  for  excellence  in  any  country.  Dello  was  the 
friend  of  Paolo  Uccelli,  and  it  is  said  that  the  latter  painted  the 
portrait  of  Dello,  in  the  figure  of  Shem,  in  his  picture  of  the 
"  Drunkenness  of  Noah." 

Delmont,  real  name  Deodat  van  der  Mont,  born  near  Antwerp 
(1581-1644).  The  earliest  scholar  of  Rubens.  His  works  are  very 
rare.  No.  300,  Antwerp  Mus.,  is  a  representation  of  the  "  Trans- 
figuration "  by  him,  and  has  no  great  merit. 

Denis  or  Denys,  Simon,  born  at  Antwerp  (1750-1815).  He 
painted  landscapes  and  cattle.  He  resided  many  years  in  Italy,  and 
died  in  Naples.  His  botanical  representations  are  fine  and  very  accu- 
rate. His  works  are  much  valued. 

Denner,  Balthasar,  born  at  Hamburg  (1685-1749).  If  the  exact 
and  toilsome  imitation  of  nature  would  make  a  great  artist,  Denner 
would  be  at  the  head  of  the  first  rank.  His  best  works  are  bust 
portraits  of  old  people,  with  not  a  freckle,  a  hair,  a  wrinkle,  or  a 
speck  left  out.  Two  very  striking  pictures  of  this  kind  are  at  Vienna ; 
another,  No.  1014,  Berlin  Mus.  But  he  sometimes  painted  family 
groups  and  other  likenesses,  and  many  of  his  portraits  remain  at 
Schwerin,  where  he  was  much  employed  by  the  Duke  of  Mecklen- 
burg-Schwerin.  His  miniatures  executed  late  in  life,  both  in  oil  and 
water-colors,  are  very  fine.  In  the  city  library  of  Hamburg,  there  is  a 
series  of  these  in  water-colors. 

Desplaces,  Louis,  born  at  Paris,  1682.  An  eminent  engraver.  His 
best  plates  are  after  Jouvenet.  He  used  both  point  and  graver. 

Desportes,  Francois,  born  at  Champigneul  (1661-1743).  An 
eminent  painter  of  animals,  especially  dogs.  He  was  a  great  favorite 
with  Louis  XIV.,  who  employed  him  in  the  palaces  of  Versailles,  Fon- 
tainebleau,  and  Meudon,  and  gave  him  the  office  of  painter  to  the 
king.  His  own  portrait,  as  a  sportsman  with  dead  game  and  a  dog, 


DESPORTES  —  DIEPENBECK.  243 

painted  by  himself,  is  in  the  Louvre.  Desportes  was  without  doubt 
in  England,  and  painted  some  pictures  there. 

Detroy,  Jean-Francois,  born  at  Paris  (1679-1752).  This  artist 
passed  many  years  in  Italy,  was  Director  of  the  French  Acad.  at 
Rome,  and  President  of  the  Acad.  of  S.  Luke.  He  painted  a  variety 
of  subjects;  large  altar-pieces,  genre  subjects,  and  myths  and  stories 
for  the  Gobelins'  tapestries.  His  execution  was  very  careless,  but 
his  designs  exhibit  great  ability.  In  the  Louvre  is  one  of  his  best 
works,  dated  1732,  and  representing  the  first  Chapter  of  the  Order 
of  S.  Esprit,  held  by  Henri  IV.  in  the  convent  of  the  Grands- Au- 
gustins. 

Deutsch.     See  Manuel. 

Devis,  Arthur,  born  at  Preston,  Lancashire  (1708-1787).  He 
could  not  be  termed  a  miniaturist,  and  yet  his  portraits  were  small, 
often  full  lengths  15  or  18  inches  high.  He  gave  them  the  appear- 
ance of  fancy  sketches  by  putting  them  in  a  room  or  in  a  landscape, 
and  paying  great  attention  to  all  the  details  of  finish.  His  color  was 
cool,  but  his  heads  are  very  expressive,  even  when  thinly  painted. 

Devis,  Arthur  William  (1762-1822).  Son  of  the  preceding. 
He  painted  life-size  portraits  in  a  somewhat  theatrical  style.  When 
but  twenty  years  old  he  was  appointed  draughtsman  to  the  East  India 
Company,  and  started  for  a  voyage  round  the  world.  He  suffered 
shipwreck  and  many  hardships,  but  at  length  reached  Bengal,  where 
he  painted  for  a  time.  Returning  to  England  he  executed  historical 
subjects,  one  of  the  best  of  which  is  the  "  Death  of  Nelson,"  at 
Greenwich  Hospital.  He  grouped  his  figures  well,  and  his  portraits 
were  full  of  character;  he  made  good  use  of  light  and  shade,  but  his 
color  was  brown  and  thin.  Many  of  his  portraits  are  excellent. 

Diaz,  Diego  Valentine.  A  Spanish  painter  of  architecture  and 
history.  He  founded  a  hospital  for  orphans  at  Valladolid,  and  his 
most  creditable  work  was  done  there.  In  the  Mus.  at  Valladolid 
there  is  a  "  Holy  Family  "  by  Diaz. 

Diepenbeck,  Abraham  van,  born  at  Bois-le-Duc  (1607-1675). 
This  artist  was  originally  a  painter  on  glass,  and  the  windows  of  a 
chapel  in  the  Cath.  of  Antwerp  were  his  work.  He  spent  a  long 
time  in  Italy,  and  went  also  to  England.  His  whole  manner  shows 
that  he  was  the  pupil  of  Rubens ;  but  he  used  more  impasto  than  his 
master,  his  colors  are  more  blended,  and  the  whole  work  smoother. 
He  was  a  figure  painter,  decidedly,  but  his  backgrounds  were  well 
done  and  very  varied,  embracing  lake  and  river  scenery,  houses  and 
terraces,  landscape  and  sea.  He  also  painted  animals  well,  and 
loved  to  represent  horses.  Antwerp  Mus.,  "Ecstasy  of  S.  Bonaven- 
tura;  "  Vienna  Gall.,  "  Vanity  of  all  Earthly  Things  ;  "  Berlin  Mus. 
and  Louvre,  "  Cloelia  fleeing  from  Porsenna."  His  chef-tf 'ceuvre  was 
long  attributed  to  Rubens,  and  is  the  altar-piece  of  the  ch.  of  Deurne, 
near  Antwerp,  representing  "  S.  Norbert  giving  the  Cross  and  his 


244  DIEPENBECK  —  DIETRICH. 

Benediction  to  Waltman,  first  Abbot  of  S.  Michel."  Perhaps  no 
works  of  his  so  well  display  his  powers  of  invention  as  the  designs  he 
made  for  engravers,  among  which  were  those  for  ' '  The  Temple  of 
the  Muses,"  engraved  by  Cornelius  Bloemaert. 

Diest,  Adrian  van,  born  at  the  Hague  (1655-1704).  A  land- 
scape painter  of  some  merit.  He  occasionally  painted  portraits  also. 
His  pictures  would  be  called  decorative  works,  but  they  are  bold  and 
spirited  in  effect.  His  skies  were  pale  blue,  and  his  whole  tone  of 
color  silvery  gray;  sometimes  he  made  large  gray  clouds  with  lighted 
edges  of  a  delicate  yellow.  His  men-of-war  and  fishing  boats  were 
good,  and  his  foreground  figures  spirited.  He  executed  a  few  etch- 
ings from  his  own  designs,  in  a  slight,  masterly  manner. 

Dietisalvi,  Petroni.  In  the  latter  part  of  the  1 3th  century  it  was 
the  custom  to  have  the  registers  and  books  of  the  public  offices 
adorned  with  paintings  of  the  arms  of  the  people  and  "  commune," 
or  with  portraits  of  the  officers  who  kept  the  books.  Dietisalvi 
painted  in  1264  and  1269  two  such  book-covers,  which  are  now  pre- 
served in  the  Acad.  of  Arts  at  Siena.  They  are  very  curious  and 
interesting  on  account  of  their  authenticity  and  age.  M.  Ramboux, 
of  Cologne,  made  a  full  collection  of  these  curiosities,  and  among  them 
was  a  portrait  by  Dietisalvi. 

Dietrich,  Christian  Wilhelm  Ernst,  born  at  Weimar  (1712- 
1774).  Pupil  of  his  father  and  Alexander  Thiele.  He  especially 
loved  the  painting  of  pasticci,  and  succeeded  well  with  the  works  of 
Rembrandt,  Everdingen,  Ostade,  Poelemberg,  Heinrich  Roos,  and 
Salvator  Rosa.  He  had  no  originality,  and  his  color  and  execution 
were  subject  to  much  criticism,  yet  he  had  great  popularity  and  his 
works  are  numerous.  The  Dresden  Gall,  has  51,  and  all  the  Ger- 
man galleries  have  specimens  of  his  brush.  In  the  National  Gall,  the 
"  Wandering  Musicians  "  is  an  unusually  good  work  of  this  artist. 
The  engraving  of  Wille  has  made  it  well  known.  But  Dietrich  was 
more  worthy  of  praise  for  his  etchings  than  for  his  paintings.  These 
can  only  be  admired,  and  as  he  often  destroyed  his  plates  after  mak- 
ing a  certain  number  of  impressions,  some  of  his  prints  are  now 
rare.  Among  these  are  the  following:  — 

Lot  and  his  Daughters ;  scarce. 

Abraham  going  to  sacrifice  Isaac;  1730;  scarce. 

Another  of  the  same  subject  differently  designed;  very  scarce. 

The  Repose  in  Egypt;  1732;  scarce. 

Descent  from  the  Cross ;  style  of  Rembrandt ;  1730;  scarce. 

The  Disciples  at  Emmaus;  extremely  rare. 

Famine  and  Pestilence;  1731;  very  scarce. 

Nero  dying,  tormented  by  Furies  and  the  Shade  of  his  Mother; 
scarce. 

Jupiter  and  Antiope  ;  1735;  one  of  the  best;  scarce. 


DIETRICH  —  DOLCI.  245 

The  Alchymist  in  his  Laboratory;  1731;  style  of  Rembrandt; 
scarce. 

Dobson,  William,  born  in  London  (1610-1646).  Pupil  of  Robert 
Peake.  Dobson  was  a  portrait  painter  of  much  merit.  His  color 
was  good  and  his  drawing  excellent.  Vandyck  was  attracted  by  the 
sight  of  one  of  his  pictures,  sought  him  out,  and  recommended  him 
to  Charles  I.  After  the  death  of  Vandyck,  the  king  gave  Dobson  the 
appointment  of  sergeant-painter  to  his  Majesty.  His  pictures  in  some 
points  resemble  those  of  Lely  and  Vandyck,  but  the  resemblance  is 
not  sufficient  to  lead  to  any  confusion  in  their  works.  His  portraits 
have  much  dignity,  and  the  face  shadows  are  sometimes  very  dark. 
He  did  not  succeed  in  historical  subjects.  He  lived  extravagantly, 
and  was  poor  and  dissipated  at  the  time  of  his  death. 

Does,  Jacob  van  der,  born  at  Amsterdam  (1623-1673).  Pupil  of 
Nicholas  Moyaert.  He  went  to  Rome  when  the  works  of  Pieter 
van  Laer  were  very  much  in  vogue,  and  Does  adopted  the  same  class 
of  subjects,  which  were  scenes  from  peasant  life,  markets,  robber- 
subjects,  etc.  The  landscapes  of  Van  der  Does  were  principally 
Italian,  and  he  introduced  sheep  and  goats  successfully.  His  works 
are  rare  in  public  galleries.  There  is  a  fine  one  in  the  Vienna  Gall. 
It  represents  an  antique  fountain  around  which  a  flock  of  sheep  and 
a  laden  mule  are  resting,  with  a  shepherdess  and  some  children  near. 
The  clearness  and  power  of  color  suggest  Rembrandt.  Brunswick 
Gall.,  No.  41,  is  another  fine  work  of  this  master.  He  executed  one 
etching,  dated  1650,  which  represents  five  sheep,  and  is  as  good  as 
his  pictures. 

Does,  Simon  van  der.  Son  of  the  preceding  (1653-1717).  He 
painted  the  same  subjects  as  his  father,  and  also  small  portraits  and 
domestic  subjects.  He  did  not  equal  his  father.  There  are  three  of 
his  works  in  the  Amsterdam  Mus.  He  also  etched  a  few  plates  of 
landscapes  with  cattle. 

Dolci,  Carlo,  born  at  Florence  (1616-1686).  School  of  Matteo 
Rosselli.  He  painted  few  historical  pictures.  His  best  works  were 
Madonnas  and  penitent  Saints.  These  he  painted  with  great 
delicacy  and  grace.  There  was  also  much  sentiment  in  them,  which 
sometimes  became  affectation.  There  is  a  great  difference  in  the 
quality  of  his  works,  but  they  are  all  valuable.  They  are  not  rare 
in  galleries.  His  most  important  historical  picture  is  in  the  Pitti 
Pal.  It  represents  S.  Andrew  praying  by  the  Cross,  previous  to 
his  execution,  and  is  dated  1646.  He  especially  excelled  in  the 
painting  of  the  hands.  His  representations  of  the  Mater  Dolorosa, 
S.  Apollonia,  and  the  Magdalene  are  very  beautiful,  and  find  many 
passionate  admirers.  He  had  many  imitators,  and  his  pictures  were 
often  copied.  This  was  done  best  by  his  daughter  Agnese,  who  also 
executed  original  works,  but  never  equalled  her  father. 


246  DOLCI  —  DOMENICHINO. 

ENGRAVINGS  AFTER   THE  WORKS  OF   CARLO   DOLCI. 

Engraver,  BARON,  Bernard.     S.  Cecilia. 

Engraver,  BARTOLOZZI,  Francesco.     Madonna  and  Child. 

Engraver,  BASAN,  Francis.     Christ  breaking  the  Bread. 

Engraver,  CARDON,  Anthony  the  Younger.     Salvator  Mundi. 

Engraver,  EARLOM,  Richard.    The  Virgin  and  Child  with  S.  John 
Salvator  Mundi. 

Engraver,  FAUCCI,  Carlo.     The  Martyrdom  of  S.  Andrew. 

Engraver,  GARAVAGLIA.   Bust  of  Mary,  Mater  pulchrce  dilectionis. 
Magdalena  with  the  oil-flask. 

Engraver,  KILIAN,  Philip  Andrew.     Daughter  of  Herodias  with 
the  Head  of  S.  John.     S.  Cecilia. 

Engraver,  MARRI,  G.      Carlo  Dolci,  after  himself.     (Tosti  Coll.) 

Engraver,  Rossi,  Andrea.     A  Bust  of  the  Virgin. 

Domenichiho,  real  name  Domenico  Zampieri,  born  at  Bologna 
(1581-1641).  The  most  distinguished  painter  of  the  school  of  the 
Carracci.  His  originality  was  not  large,  but  his  expression  and 
color  command  admiration.  He  has  been  often  criticised  for  allow- 
ing the  auxiliary  parts  of  his  works  to  detract  from  the  interest  of  the 
principal  figure.  It  is  true  that  he  did  this  ;  par  exemple,  in  his 
picture  of  "  S.  Cecilia  bestowing  her  Goods,"  it  is  not  the  Saint  her- 
self who  holds  the  attention,  but  the  group  of  poor  people  below  who 
struggle  for  the  gifts  thrown  from  the  balcony  above,  and  who  are 
most  powerfully  represented ;  and  in  the  "  Scourging  of  S.  Andrew," 
the  women  thrust  back  by  the  executioners  are  the  great  excellence 
of  the  work.  He  imitated  the  designs  of  other  artists,  but  not  with 
servility,  for  there  is  individuality  in  his  heads,  as  well  as  grace  and 
a  noble  beauty.  His  most  noted  work  is  the  "  Communion  of  S. 
Jerome,"  in  the  Vatican,  considered  by  many  second  only  to  Raphael's 
"  Transfiguration,"  among  all  the  pictures  in  Rome.  His  other  impor- 
tant works  in  Rome  are,  the  "  Four  Evangelists  "  in  the  pendentives 
of  the  Cupola  of  S.  Andrea  delle  Valle ;  two  scenes  from  the  life  of 
S.  Cecilia,  in  S.  Luigi;  "  Scourging  of  S.  Andrew,"  in  chapel  of  that 
saint  on  Monte  Celio ;  the  "Martyrdom  of  S.  Sebastian,"  in  S.  M. 
degli  Angeli ;  "  Diana  and  her  Nymphs,"  Borghese  Gall.  Other  famous 
pictures  of  his  are,  "  Scenes  from  the  Life  of  the  Virgin  "  in  a  chapel 
of  the  Duomo  at  Fano;  the  "  History  of  S.  Nilus  "  at  Grottaf errata ; 
a  "  Guardian  Angel  defending  a  Boy  from  Satan,"  Studj  Gall.,  Na- 
ples; an  "Inspired  S.  John,"  S.  Petersburg,  coll.  of  Prince  Narisch- 
kin;  same  subject  at  Castle  Howard;  "Pious  Women  dressing  the 
Wounds  of  S.  Sebastian,"  Stadel  Institute,  Frankfort;  and  the  "Mar- 
trydom  of  S.  Agnes,"  Bologna  Gall.  His  most  important  work  at 
Naples  was  a  series  of  subjects  from  the  life  of  S.  Januarius,  in  the 
chapel  Tesoro  of  the  Cath.  It  is  believed  that  he  was  poisoned  by 
Neapolitan  artists.  He  left  Rome  on  account  of  the  persecutions  of 


COMMUKION   OF   S. 


JEROME.      BY   DOMENICHIHO. 

Vatican. 


DOMENICHINO.  249 

rivals,  only  to  meet  death  at  Naples.  The  landscapes  of  Domenichino 
are  deserving  of  attention,  whether  they  are  the  full  subject,  or 
merely  the  background  for  figures.  They  are  grand  and  solemn; 
frequently  towers  and  classical  buildings  are  introduced,  and  his 
coloring  is  warm  and  rich. 

ENGRAVINGS   AFTER  THE  WORKS  OF  DOMENICHINO. 

Engraver,  ANDRIOT  or  HANDERIOT,  Franz.  Christ  crowned 
with  Thorns. 

Engraver,  AUDRAN,  Charles.  The  Assumption  of  the  Virgin;  very 
fine. 

Engraver,  AUDRAN,  Gerard.  JEneas  saving  Anchises.  The  Mys- 
tery of  the  Rosary.  Temptation  of  S.  Jerome.  Martyrdom  of  S. 
Agnes.  Four  sheets  of  the  four  angles  in  the  ch.  of  S.  Carlo  de 
Catenari,  representing  Justice,  Temperance,  Prudence  and  Fortitude  ; 
Rome;  1675. 

Engraver,  AUDRAN,  John.     Our  Saviour  on  the  Mount  of  Olives. 

Engraver,  BARRIERE,  Dominique.  Several  plates  of  the  History 
of  Apollo. 

Engraver,  BAUDET,  Stephen.     Adam  and  Eve ;  very  fine. 

Engraver,  BLOND  or  BLON,  James  Christopher  le.    S.  Agnes. 

Engraver,  CAN  ALE,  Giuseppe.     The  Glory. 

Engraver,  CHAVEAU,  Francis.  A  Concert;  engraved  also  by 
Picart. 

Engraver,  CUNEGO,  Domenico.  S.  Cecilia  receiving  the  Palm  of 
Martyrdom.  Six  plates  :  the  Annunciation,  the  Visitation,  the  Na- 
tivity, the  Circumcision,  the  Adoration  of  the  Magi,  and  the  Presen- 
tation in  the  Temple. 

Engraver,  DUFLOS,  Claude.  A  Concert.  The  Triumph  of  Gal- 
atea. Cupid  stung  by  a  Bee.  The  same  subject,  smaller  and  circu- 
lar. Bacchus  and  Ariadne. 

Engraver,  EARLOM,  Richard.     The  infant  Jesus  sleeping. 

Engraver,  FARIAT  or  FARJAT,  BENOIT.  Communion  of  S. 
Jerome. 

Engraver,  FREY,  James.  Martyrdom  of  S.  Sebastian.  Commun- 
ion of  S.  Jerome.  Justice,  Temperance,  Prudence,  and  Fortitude, 
from  S.  Carlo  de  Catenari,  at  Rome. 

Engraver,  GREEN,  Valentine.     The  Virgin  and  Child. 

Engraver,  GREUTER,  John  Frederick.     The  Death  of  S.  Cecilia. 

Engraver,  HAINZELMANN,  Elias.  S.  Francis  praying  before  a 
Crucifix. 

Engraver,  MARIETTE,  John.     S.  Peter  delivered  from  Prison. 

Engraver,  MORGHEN,  Raphael.     Diana  and  her  Nymphs. 

Engraver,  PA  VON,  Ignatius.  Communion  of  S.  Jerome.  S.  John 
writing. 

Engraver^  PICART,  Stephen.     S.  Cecilia.     A  Concert. 


250 


DOMENICHINO  —  DONATELLO. 


Engraver,  POILLY,  John  Baptist.     Martyrdom  of  S.  Cecilia. 

Engraver,  ROUSSELLET,  Giles.     David  playing  on  the  Harp. 

Engraver,  SHARP,  William.     S.  Cecilia. 

Engraver,  SIMONEAU,  Charles.     Christ  with  Martha  and  Mary. 

Engraver,  STRANGE,  Sir  Robert.  The  Martyrdom  of  <S.  Agnes ; 
1759.  S.  Agnes;  1759  (?) 

Engraver,  TARDIEU,  Nicholas  Henry.     Adam  and  Eve. 

Engraver,  TARDIEU,  Peter  Alexander.     Communion  of  S.  Jerome. 

Engraver,  TESTA,  Gio.  Cesare.     Communion  of  S.  Jerome. 

Donatello,  real  name  Donate  di  Betto  Bardi  (1386-1468).  This 
old  sculptor  was  a  close  imitator  of  nature.  He  seemed  careless  of 
mere  beauty,  and  his  works  are  striking  for  their  marked  difference 
from  those  of  his  predecessors,  especially  in  this,  that  he  defined  the 
forms  beneath  his  draperies,  and  by  use  of  the  girdle,  and  other 


RELIEF.      BY  DONATELLO. 

In  S.  Antonio,  Padua. 

means,  made  it  possible  to  believe  that  the  folds  concealed  the  human 
figure.  He  executed  numerous  works.  Among  those  remaining,  the 
following  are  the  most  important :  Reliefs  in  marble  representing 
Dancing  Children,  executed  for  the  front  of  the  organ  in  the  Cath.  of 
Florence,  now  in  the  Uffizi;  bronze  David,  same  Gall.;  bronze  statues 
of  SS.  Mark,  Peter,  and  George,  on  the  exterior  of  Orsanmichele ; 
the  Magdalene  in  the  Baptistery  at  Florence ;  bronze  reliefs  of  two 
pulpits  in  ^.  Lorenzo,  and  a  bronze  Judith  in  the  Loggia  de'  Lanzi. 


DONATELLO  —  DOSSI.  251 

At  Padua,  there  is  an  equestrian  statue  of  Francesco  Gattamelata, 
which  was  the  first  one  of  importance  in  modern  art,  and  is  full  of 
life  and  power.  Many  of  his  works  are  very  excellent,  but  others,  as 
the  "  Magdalene,"  are  almost  repulsive.  He  was  much  admired  and 
patronized  by  Cosmo  and  Pietro  de'  Medicis.  It  is  said  that  he  con- 
sidered his  "  David,"  called  Lo  Zuccone  (the  bald  head),  his  chef- 
d'oeuvre,  and  was  accustomed  to  use  as  an  affirmation,  these  words, 
"  By  the  faith  I  place  in  my  Zuccone."  Donatello  was  buried  in  the 
ch.  of  S.  Lorenzo  with  great  pomp.  His  resting-place  was  near  that 
of  Cosmo  de'  Medicis,  that,  as  he  said,  "  his  body  might  be  near  him 
when  dead,  as  his  spirit  had  ever  been  near  him  when  in  life."  See 
Brunelleschi. 

Doni,  Adone  or  Done,  born  at  Assisi,  1472.  A  pupil  of  Pietro 
Perugino,  whom  he  at  first  imitated,  but  later  changed  to  the  Roman 
style.  In  the  ch.  of  S.  Pietro,  at  Perugia,  there  is  an  "  Adoration 
of  the  Magi "  by  him,  in  his  first  manner.  It  is  graceful.  He  also 
painted  Sibyls  in  the  ch.  at  Assisi. 

Donzelli,  Piero  and  Ippolito.  Many  contradictory  things  have 
been  written  about  these  brothers.  The  full  extent  of  what  is  known 
seems  to  be  that  they  were  sons  of  Francesco  d'Antonio  di  Jacopo, 
bailiff  (don  zello)  of  Florence.  Piero  was  born  in  1451,  and  Ippo- 
lito in  1455.  The  latter  was  apprenticed  to  Neri  de'  Bicci,  and  they 
were  both  in  the  "  Studio  "  at  Florence  in  1480.  It  is  hard  to  say 
which  of  the  pictures  attributed  to  these  artists  are  genuine.  They 
may  have  taken  part  in  the  frescoes  at  S.  Severino  in  Naples,  but 
that  they  were  Florentines  is  certain,  and  also  is  it  true  that  they 
lived  later  than  the  Neapolitan  accounts  have  stated. 

Dorigny,  Michel,  born  at  St.  Quentin  (1617-1665).  A  painter 
and  engraver.  He  married  the  daughter  of  Simon  Vouet,  and  is  de- 
serving of  notice  principally  as  having  engraved  the  works  of  that 
artist. 

Dossi,  Dosso,  and  his  brother,  Gio.  Battista.  The  former  was 
the  most  celebrated.  He  died  in  1560.  The  brothers  passed  some 
time  in  Rome,  after  the  death  of  Raphael.  Dosso  shows  his  peculiar 
characteristics  in  mythological  subjects,  more  than  in  religious  pic- 
tures. The  "  Four  Fathers  of  the  Church,"  the  "  First  Person  of 
the  Trinity,"  and  the  "  Glory  of  the  Virgin,"  all  in  the  Dresden 
Gall.,  have  much  merit.  They  are  rich  and  dignified  representations. 
But  in  the  "  Circe  "  of  the  Borghese  Gall.,  there  is  freedom  of  action, 
naivete  of  expression,  and  pleasing  individuality.  The  "  Dream,"  in 
the  Dresden  Gall.,  is  wild  and  fanciful.  The  brothers  worked  together 
in  the  Ducal  Pal.  at  Ferrara,  in  1554.  Many  of  their  works  are 
much  injured,  and  in  those  that  remain  there  is  a  mixture  of  excel- 
lence and  hard  conventionality.  In  the  Borghese  Pal.,  there  are  two 
landscapes  by  Gio.  Battista.  Dosso  excelled  in  portraits,  and  painted 
that  of  Ariosto,  by  whom  he  was  employed  to  make  designs  for  his 


252 


DOSSI  —  DOW. 


"  Orlando  Purioso."      There  are  several  pictures  by  Dosso  in   the 
churches  of  Ferrara. 

Doudyns,  William,  born  at  the  Hague  (1630-1697).  His  ceil- 
ings were  his  best  works.  He  executed  several  in  the  Town  Hall  of 
his  native  city.  He  deserves  mention  as  one  of  the  founders  of  the 
Acad.  at  the  Hague,  of  which  he  was  a  Director. 

Doughty,  Thomas,  born  in  Philadelphia  (1793-1856).  He  started 
in  life  as  a  leather  manufacturer,  but  at  thirty  years  of  age,  his  love 
of  ait  compelled  him  to  take  up  the  brush,  even  in  the  face  of  the 
opposition  of  his  friends,  and  against  all  prudential  considerations. 
He  was  one  of  the  earliest  American  artists  who  represented  our  au- 
tumnal colors.  His  works  were  much  admired  in  their  time,  and  are 
now  remarkable  for  their  true  feeling  for  nature.  Col.  William 
Doughty,  of  Georgetown,  D.  C.,  brother  of  the  artist,  has  some  of 
his  pictures,  others  are  in  the  collections  of  various  gentlemen,  and 
one  of  his  landscapes  is  in  the  Boston  Athenseum;  others  are  in  the 
Philadelphia  Acad.  of  Fine  Arts. 

Dow,  Douw,or  Dou,  Gerhard,  born  at  Leyden  (1613-1680).  Son 
of  a  glazier,  who,  on  account  of  his  love  for  drawing,  early  placed  him 

with  a  glass  painter,  named 
Kowenhoorn.  At  fifteen 
he  entered  the  school  of 
Rembrandt,  where  he  re- 
mained three  years,  when 
he  had  become  a  finished 
painter.  He  did  not  at- 
tempt to  make  his  works 
tell  romantic  tales,  but  de- 
picted the  every-day  life 
of  the  humbler  classes. 
His  execution  and  finish 
are  most  remarkable ;  so 
minutely  did  he  dwell  on 
each  part,  that  he  was 
obliged  to  relinquish  por- 
trait painting  on  account  of 
the  weariness  to  his  sitters. 
He  loved  to  paint  her- 
mits, and  Scriptural  events, 
and,  like  Rembrandt,  he 
often  repeated  his  own 
face.  His  impasto  is  ad- 
mirable ;  his  color  warm 
and  transparent  at  times,  and  always  excellent;  he  fully  appreciated 
the  picturesque,  and  excelled  in  his  chiaro-scuro.  His  lights  were  often 
from  lanterns  and  candles,  and  are  wonderfully  effective.  In  spite 


PICTURE   BY   G.    DOW. 

Vienna  Gall. 


DOW  —  DROST.  253 

of  his  minute  execution  he  finished  more  than  200  pictures.  They 
are  never  large,  and  rarely  contain  more  than  three  figures.  Even 
in  his  own  time  his  works  were  so  much  esteemed  that  President  Van 
Spiring  offered  him  1 000  florins  a  year  for  the  right  to  choose  from 
his  works ;  they  now  bring  very  large  prices.  There  are  specimens 
in  all  the  large  European  galleries.  The  "  Woman  sick  of  the 
Dropsy,"  in  the  Louvre,  is  often  called  his  chef-d'ceuvre.  This  was  ex- 
ecuted when  he  was  sixty-five  years  old.  It  has  a  sunny,  transparent 
lighting,  and  a  marvellous  execution.  The  "  Evening  School,  "  in 
the  Amsterdam  Mus.,  is  his  best  candle-lighted  picture.  It  is  ex- 
tremely picturesque,  and  the  lights  are  admirable.  His  best  por- 
traits are  in  the  same  Mus.,  and  represent  a  Burgomaster  of  Leyden 
and  his  wife,  full  length,  in  one  frame.  He  excelled  in  the  combi- 
nation of  domestic,  peaceful  happiness,  with  masterly  lighting,  warm, 
beautiful  color,  and  tender  execution. 

ENGRAVINGS   AFTER   THE    WORKS    OF   GERARD   DOW. 

Engraver,  AMSTEL,  Cornelius  Ploos  Van.  A  Lady  seated  at  a 
Harpsichord;  Ger.  Douw,  del,  1660;  P.  v.  Amstel,  fecit,  1767. 

Engraver,  BAILLIE,  Capt.  William.  The  Pen  Cutter.  The  Lace 
Maker.  The  Mother  of  G.  Douw. 

Engraver,  BAUSE,  John  Frederic.     The  Good  Housewife. 

Engraver,  BEAUVARLET,  James  Firmin.     The  Double  Surprise. 

Engraver,  KAUPERZ,  John  Vitus.     The  Flute  Player. 

Engraver,  MOITTE,  Peter  Stephen.  The  Dutch  Cook.  The  Fish- 
woman. 

Engraver,  VALK,  or  VALCK,  Gerard.     A  Girl  holding  a  Lamp. 

Engraver,  VOYEZ,  Nicholas  Joseph.  The  Astrologer.  An  Old 
Man  in  Meditation. 

Engraver,  WILLE,  John  George.  A  Lady  Reading.   The  Housewife. 

Drevet,  Pierre,  the  Elder,  born  at  Lyons  (1664-1739).  An  emi- 
nent engraver.  He  used  only  the  graver,  of  which  he  was  a  perfect 
master.  ' 

Drevet,  Pierre,  the  Younger,  born  at  Paris  (1697-1  739).  Son  of 
the  preceding,  and  a  celebrated  engraver  also.  His  portrait  of  Bos- 
suet  gained  him  a  world-wide  reputation.  That  of  Samuel  Bernard 
is  almost  as  fine,  and  all  his  works  are  excellent. 

Drolling,  Michel  Martin,  born  at  Oberbergheim  (1786-1861). 
Pupil  of  David.  Two  decorated  ceilings  in  the  Louvre  were  by  this 
master.  His  subjects  were  poetical  and  classical  as  well  as  religious, 
and  he  painted  some  good  portraits.  He  was  a  good  academic 
painter. 

Drost  (1638-1690).  A  pupil  of  Rembrandt,  and  one  of  his  most 
faithful  imitators  as  far  as  his  talents  would  allow.  There  is  a 
"  Christ  with  the  Magdalene  after  his  Resurrection,"  by  Drost,  in  the 
Cusse.1  Gall.,  and  the  "Daughter  of  Herodias  with  the  Head  of  the 
Baptist,"  in  the  Mus.  at  Amsterdam. 


254  DKOUAIS  —  DTJCCIO. 

Drouais,  Jean  Germain,  born  at  Paris  (1763-1788).  An  artist 
who  gave  great  promise  of  excellence,  but  whose  early  death  pre- 
vented the  execution  of  many  works.  His  masterpiece  was  "  Ma- 
rius  at  Minturnae."  This  picture  is  illustrative  of  the  imitation  of 
the  antique  in  the  modern  French  school. 

Drummond,  Samuel  (1770-1844).  An  English  landscape  and 
portrait  painter.  His  portraits  were  his  best  works. 

Dubbels.  There  have  been  at  least  three  artists  of  this  name,  and 
all  painted  sea  and  river  views.  But  few  facts  are  known  of  them. 
Jan  has  been  called  both  the  scholar  and  master  of  Backhuysen,  to 
whom,  it  is  said,  many  of  his  pictures  have  been  attributed.  But  his 
known  works  would  indicate  him  to  have  been  the  instructor  rather 
than  the  pupil,  for  the  Dutch  school  can  scarcely  show  a  finer  sea 
view  than  one  of  Dubbels,  which  is  signed  and  in  the  Van  der  Hoop 
Coll.  at  Amsterdam.  It  represents  an  agitated  sea  breaking  on  the 
coast.  It  is  almost  equalled  by  another  similar  subject,  also  signed, 
in  the  Pitti  Pal.  In  this  a  single  figure  is  seen  emerging  from  the 
breakers.  The  lighting  is  exquisite.  The  general  tone  of  color  is  a 
silver  gray,  with  gleams  of  sunshine  on  waves,  sands,  and  horizon. 
One  of  this  artist's  rare  works  is  in  the  Coll.  of  the  Duke  of  Bedford, 
London.  Hendrik  and  Thierry  are  the  names  of  the  other  Dubbels. 

Due,  A.  In  the  Gall,  at  Dresden  there  is  a  picture  of  a  peasant 
kneeling  and  begging  his  life  of  a  soldier,  and  in  the  Vienna  Gall. 
one  of  a  lady  and  gentleman  imploring  the  mercy  of  an  infantry  offi- 
cer, and  both  are  signed  A.  Due.  Otherwise  he  is  unknown.  These 
works  show  him  to  have  been  a  good  imitator  of  the  style  of  Pala- 
medes. 

Ducq,  Jan  le,  born  at  the  Hague  (1633-1695).  He  is  believed  to 
have  been  the  pupil  of  Paul  Potter,  but  his  pictures  resemble  those 
of  the  Palamedes,  whom  he  also  surpassed.  He  had  much  delicacy 
of  touch,  and  his  heads  are  very  truthful.  His  portraits  were  excel- 
lent, as  may  be  seen  in  two  small,  delicately  painted  ones  in  the 
Dresden  Gall.  The  Berlin  and  Munich  galleries  have  good  speci- 
mens of  his  scenes  from  soldier  life.  Le  Ducq  also  executed  a  number 
of  very  skilful  etchings,  representing  dogs  and  other  animals. 

Duccio  di  Boninsegna,  was  to  the  Sienese  school  what  Cimabue 
and  Giotto  were  to  that  of  Florence.  He  was  a  reformer  who  re- 
tained indeed  much  of  the  manner  of  those  who  had  preceded  him, 
but  he  added  to  it,  and  elevated  it  by  creations  all  his  own.  The 
time  of  his  birth  is  unknown.  He  was  in  Florence  in  1285.  He 
commenced  his  great  altar-piece  for  the  Cath.  of  Siena  in  1308,  and 
in  June,  1310,  it  was  borne,  like  the  "  Madonna  "  of  Cimabue,  from 
his  studio  to  the  Duomo  by  a  solemn  procession,  headed  by  the 
Archbishop,  followed  by  clergy,  monks,  government  and  communal 
officers,  women,  and  children.  Music  and  the  ringing  of  bells  added 
merry  inspiration,  and  Duccio  was  the  "  bright,  particular  star  " 


DUCCIO  —  DUCHANGE. 


255 


to  the  Sienese  of  that  day.  His  work  remained  nearly  200  years 
in  its  place,  and  is  now  well  preserved  in  the  transept  and  sacristy 
of  the  Cath.  It  is  probable  that  at  the  time  of  the  procession  it 
was  not  all  completed,  for  in  the  end  it  was  painted  on  both  sides, 
and  from  some  records  it  would  appear  that  a  portion,  at  least,  of  the 
back  part  was  done  afterwards.  The  front  was  a  representation  of 
the  "Majesty"  of  the  Virgin.  Seated  on  a  vast  throne,  and  hold- 
ing the  Child,  she  was  surrounded  by  angels  and  worshipped  by 
saints.  There  was  much 
gold,  tapestry,  and  orna- 
mentation ;  the  group  was 
characterized  by  grace 
more  than  solemnity  or 
dignity.  His  drawing  was 
careful ;  his  color  soft  and 
powerful ;  his  execution 
was  patient  and  highly 
finished,  and  even  his 
superabundant  ornament 
was  tasteful.  A  marked 
difference  was  made  be- 
tween the  treatment  of 
the  male  and  female  fig- 
ures, but  color  was  the 
best  feature  of  Duccio 
and.  his  school,  who  re- 
tained much  of  the  old 
exaggeration  of  design, 
form,  and  action.  On  the 
other  side  of  the  work, 
he  depicted  the  Passion 
of  Christ,  in  28  panels. 
The  subjects  commenced 
with  the  entrance  into 
Jerusalem,  and  proceeded 
to  the  meeting  at  Em- 
maus.  The  whole  has 
been  divided  into  many 
pieces.  In  the  Acad.  of 
Siena  there  are  other  works  of  this  master,  and  in  the  National 
({sill,  a  Virgin  with  saints  and  prophets.  One  of  his  finest  works  is 
in  the  Coll.  of  the  late  Royal  Consort,  Prince  Albert.  This  ranks 
next  the  great  altar-piece.  In  the  Ramboux  Coll.  at  Cologne  there 
are  two  pictures  of  his.  The  successors  of  Duccio  in  the  14th  cen- 
tury did  nothing  which  exceeded  him. 
Duchange,  Gaspar,  born  at  Paris,  1662.  An  eminent  engraver, 


Sit  ML 

THE   WOMEN  GOING  TO  THE   SEPULCHRE  OF 
CHRIST.      BY   DUCCIO. 

Cath.  of  Siena. 


256  DUCHANGE  —  DUPATY. 

His  plates  are  remarkable  for  the  effect  which  he  produced  by  the 
combined  use  of  the  etching-point  and  the  graver.  He  reproduced 
the  works  of  Correggio  with  peculiar  skill. 

Duchatel,  Frans,  born  at  Brussels,  1625.  Pupil  of  Teniers,  his 
works  so  nearly  resemble  those  of  his  great  master  that  they  have 
been  mistaken  for  his.  He  had  however  been  brought  under  the 
influence  of  Van  der  Meulen  in  France,  and  was,  all  in  all,  more 
independent  in  style  than  Teniers.  His  chief  work  is  in  the  Mus. 
at  Ghent,  and  represents  "  Charles  II.  of  Spain  receiving  homage  as 
Count  of  Flanders  from  the  Estates  of  Ghent,  in  the  person  of  his 
Stadtholder  the  Marquis  of  Castel  Rodrigo."  This  picture  is  signed 
and  dated  1668.  It  contains  several  most  excellent  portraits,  and  is 
good  in  general  effect  and  keeping.  In  the  Antwerp  Mus.  the  pano- 
rama of  Valenciennes  has  been  called  a  Teniers,  but  good  authorities 
now  assign  it  to  Duchatel. 

Dufresnoy,  Charles  Alphonse,  born  at  Paris  (1611-1665).  A 
very  learned  painter.  He  was  classical  in  his  taste,  and  after  his 
death  his  friends  published  his  Latin  poem,  "  De  Arte  Graphica," 
which  was  translated  into  English  by  William  Mason,  and  enriched 
with  notes  by  Sir  Joshua  Reynolds.  Dufresnoy  went  when  quite 
young  to  Rome,  and  became  learned  in  antiquities,  anatomy,  and 
perspective,  as  well  as  in  classical  literature.  His  works  are  scarce. 
His  subjects  were  landscapes,  history,  and  architecture.  They  are 
correct  in  drawing  and  carefully  executed,  but  are  too  studied  to  be 
pleasing. 

Dimlap,  William,  born  at  Perth  Amboy,  New  Jersey  (1766- 
1839).  The  versatility  of  his  talents  and  the  circumstances  of  his 
life  led  him  into  so  many  different  pursuits  that  it  is  difficult  to 
know  whether  to  call  him  a  painter,  an  annalist,  or  a  theatrical 
manager.  He  did  however  devote  several  years  entirely  to  portrait 
painting,  and  his  pictures  are  numerous.  The  sketch  of  his  life  is 
full  of  adventures  and  interesting  stories.  He  should  be  mentioned 
as  one  of  the  active  men  in  establishing  the  New  York  Acad.  of 
Fine  Arts,  and  indeed  it  is  due  him  to  say  that  he  did  much  for 
artistic  and  literary  enterprise  at  a  time  when  little  thought  or  sym- 
pathy was  given  to  such  matters. 

Diinwegge,  Victor  and  Heinrich.  Two  painters  of  the  West- 
phalian  school.  In  the  parish  ch.  of  Dortmund  there  is  what  the 
Germans  term  a  "Holy  Kith-and-Kin  picture,"  by  these  artists. 
It  was  painted  in  1523,  but  seems  about  a  century  older  in  style  and 
excellence,  proving  the  school  of  Westphalia  to  have  been  behind 
others  in  Germany. 

Dupaty,  Charles  Mercier,  born  at  Bordeaux  (1771-1825).  His 
father  designed  to  make  him  a  lawyer,  but  after  his  death  in  1788, 
Dupaty  studied  painting.  He  was,  however,  compelled  to  enter  a 
regiment  of  dragoons,  and  did  not  resume  his  studies  until  1795 


DUPATY  —  DURER.  257 

At  length  he  devoted  himself  to  sculpture  under  the  teaching  of 
Lemont.  As  early  as  1799  he  obtained  the  grand  prize,  but  did  not 
go  to  Rome  until  1801.  His  first  works  were  executed  in  the  man- 
ner of  his  time  and  country,  but  when  he  went  to  Italy  he  adopted 
the  antique,  and  made  models  for  some  mythological  and  historical 
statues,  which  were  put  in  marble  later.  His  chef-d'oeuvre  was 
"  Ajax  pursued  by  Neptune,"  which  gained  him,  deservedly,  a  great 
reputation.  He  executed  various  commissions  for  the  government, 
among  which  was  the  principal  group  of  the  monument  to  the  Duke 
de  Berri.  He  also  made  the  statue  of  the  Virgin  for  the  ch.  of  S. 
Germain  des  Pres. 

Duquesnoy,  Francois,  called  "  H  Fiammingo,"  on  account  of 
his  nationality,  born*  at  Brussels  (1594-1646).  The  Archduke 
Albert  sent  him  to  Rome,  but  at  the  death  of  his  benefactor  he  was 
forced  to  carve  ivory  figures  to  support  himself.  He  made  the  ac- 
quaintance of  Poussin,  and  they  pursued  their  studies  together. 
Duquesnoy  soon  gained  a  reputation  for  his  beautiful  statues  of 
children,1  and  was  commissioned  to  model  the  groups  which  adorn 
the  columns  of  the  grand  altar  of  S.  Peter's.  He  also  made  a 
colossal  statue  of  S.  Andrew  for  the  same  basilica,  which  is  one  of 
the  best  works  of  modern  art,  and  occupied  him  five  years.  His  S. 
Susanna  for  the  ch.  of  S.  Maria  di  Loretto  has  been  much  admired. 
It  is  said  he  was  poisoned  by  his  brother  when  on  his  way  to  France. 

Diirer,  Albert,  born  at  Nu- 
remberg  (1471-1528).  This 
artist,  &  not  really  the  founder 
of  the  German  school,  perfected  the  art  which  already  existed  in  his 
country.  He  was  a  sculptor,  architect,  and  painter.  He  also  wrote 
various  theoretical  works.  He  was  capable  of  the  severest  study,  and 
full  of  earnest  and  truthful  feeling  in  art.  His  drawing  was  rich  in 
life  and  expression;  his  coloring  very  unequal;  his  nude  figures  ugly 
and  vulgar;  and  his  love  for  the  fantastic  prevented  him  from  be- 
coming what  he  might  otherwise  have  been.  His  father  was  a  gold- 
smith, and  intended  to  have  placed  him  with  Martin  Schoen,  but  the 
death  of  that  artist  caused  him  to  become  the  disciple  of  Michael 
Wolgemuth,  in  whose  atelier  he  remained  three  years.  In  1490,  he 
set  out  on  his  travels,  and  in  1494  returned  to  Nuremberg  and  settled 
himself  as  a  painter.  He  remained  there  ten  years,  and  did  many 
important  works  in  engraving.  '  In  1505,  he  went  to  Venice,  Padua, 
and  Bologna.  The  following  year  he  returned  to  Nuremberg,  where 
he  remained  till  1520,  and  executed  an  immense  number  of  paintings, 
drawings,  engravings,  and  some  carved  works  in  box-wood  and 
steatite.  He  then  made  a  journey  into  the  Netherlands,  was  absent 
about  a  year,  and  returned  to  his  native  city,  never  to  leave  it  again, 

1  His  figures  of  children  are  full  of  genuine  naivet£;  he  executed  the  foun- 
tain of  the  Manneken-Pis  at  Brussels. 
17 


258 


DURER. 


although  Venice  and  Antwerp  made  him  attractive  proposals  to  re- 
main in  those  cities,  and  his  own  people,  within  thirty  years,  paid 

him  but  500  guilders. 
The  only  favor  he 
asked  was  that  the  city 
should  pay  him  five  per 
cent,  upon  a  capital  of 
1000  guilders,  which 
he  had  obtained  by  un- 
ceasing toil.  In  rep- 
resenting ecclesiastical 
subjects,  Diirer  disre- 
garded ah1  fixed  forms, 
and  portrayed  them 
with  great  power,  but 
with  perfectly  human 
feeling.  In  1498,  he 
illustrated  the  book  of 
Revelation  by  wood- 
cuts. In  these  the  fan- 
tastic element  forms 
the  groundwork,  but 
they  are  conceived  in  a 
singularly  poetic  spirit. 
In  them,  the  marvel- 
lous and  the  monstrous 
are  strangely  united. 
In  the  Uffizi,  at  Flor- 
ence, is  a  splendid 
"  Adoration  of  the 


S.  CHRISTOPHER.   BY  ALBERT  DURER. 


Kings,"  painted  in 
1504;  in  the  Monastery  Strahoff,  at  Prague,  the  "  Feast  of  Roses  ;  " 
in  the  Belvedere  Gall.,  at  Vienna,  the  "  Martyrdom  of  10,000  Saints," 
full  of  terrible  truth;  1508:  in  the  same  Gall.,  the  "  Trinity;  "1511; 
color  clear,  light,  and  fresh.  From  1511  to  1515,  he  published  many 
wood-cuts  of  religious  subjects.  The  Madonnas  are  especially 
pleasing.  In  1518,  he  represented  the  death  of  the  Virgin,  giving 
her  the  features  of  the  deceased  wife  of  the  Emperor  Maximilian, 
and  making  the  other  characters  portraits  of  living  personages.  This 
picture  is  in  England.  Although  his  pictures  are  scarce,  the  large 
German  galleries  have  specimens  of  his  work.  In  1526,  he  painted 
on  two  panels,  SS.  John  and  Peter,  and  SS.  Paul  and  Mark,  and 
presented  them  to  the  council  of  Nuremberg.  They  have  been  called 
"  The  Four  Temperaments,"  and  are  now  in  the  Pinacothek,  at 
Munich.  This  Gall,  has  also  five  large  pictures  of  the  life  of  Christ. 
The  portrait  of  his  father,  dated  1497,  is  in  the  Munich  Gall.  Cabi- 


DURER.  259 

nets,  No.  128;  and  his  own  portrait  in  the  same  Gall.  Cabinets,  No. 
124.  One  of  his  most  celebrated  pictures,  the  "  Adoration  of  the 
Trinity,"  painted  for  a  chapel  in  Nuremberg,  in  1511,  and  a  Virgin 
holding  the  Naked  Child  in  her  Arms,  are  now  in  the  Belvedere,  at 
Vienna.  One  of  his  most  singular  pictures  is  the  "  Knight,  Death, 
and  the  Devil,"  in  the  Munich  Gall.  These  are  but  a  small  part  of 
the  important  works  of  Diirer.  He  also  published,  during  the  latter 
portion  of  his  life,  scientific  works  upon  Geometry,  the  Art  of  Forti- 
fication, and  the  Proportions  of  the  Human  Body.  He  was  one  of 
the  first  artists  in  Germany  who  practised  and  taught  the  rules  of 
perspective,  which  he  is  said  to  have  learned  from  Lucas  von  Ley- 
den.  He  lived  in  the  most  frugal  and  unostentatious  manner,  apply- 
ing himself  unceasingly  to  his  profession,  and  receiving  the  honors 
which  were  paid  him  with  quiet  modesty.  He  had  married  (it  is 
said,  to  please  his  father)  the  daughter  of  Hans  Fritz,  who  proved 
a  Xantippe,  and  rendered  his  life  one  of  discomfort.  She  survived 
him,  and  he  left  her  6000  florins.  He  had  joined  the  Reformers, 
but  Pirkheimer  states  that  he  died  a  member  of  the  Romish  Church. 

ENGRAVINGS  AFTER  THE  WORKS  OP  ALBERT  DURER. 

Engraver,  BRUYN  or  BRUIN,  Nicholas  de.  The  Knight,  Death, 
and  the  Devil.  1618. 

His  own  Plates. 

Portraits  on  Copper  :  — 

Albert  Diirer  represented  at  two  different  dates,  1509  and  1517, 
on  each  side  of  a  piece  of  architecture,  with  a  Latin  inscription. 

Albert,  Elector  of  Mentz.     1523. 

Frederick,  Elector  of  Saxony.     1524. 

B.  Pirkheimer.     1524. 

Melanchthon.     1525. 

Erasmus,  from  statue  at  Rotterdam ;  1526;  scarce. 

Subjects  on  Copper  :  — 

Adam  and  Eve  with  the  Serpent;  1504;  fine. 

Adam  and  Eve  after  the  Fall. 

The  Nativity;  1504;  called  "  The  Little  Nativity." 

The  Holy  Family,  S.  Joseph  resting  on  a  Stone.     1506. 

The  Holy  Family,  called  "  The  Virgin  with  the  Monkey." 

The  Virgin  and  Child,  called  "  The  Virgin  with  the  Pear." 

The  Virgin  and  Child,  called  "  The  Virgin  with  the  Apple."    . 

The  Passion  of  Christ;  sixteen  plates  including  frontispiece.  1507- 
1512;  difficult  to  find  complete. 

The  Apostles. 

The  Crucifixion,  with  the  Maries  and  S.  John  at  the  foot  of  the 
Cross;  small,  circular;  very  scarce. 

Christ  in  the  Garden;  1515;  said  to  be  engraved  on  iron;  very 
scarce. 


260  DTJRER. 

Angels  with  the  Instruments  of  the  Passion.     1516. 

The  great  EC ce  Homo;  1512;  Latin  inscription;  very  scarce. 

Prodigal  Son  ;  best  impressions  before  the  date.     1513. 

S.  Hubert  kneeling  before  a  Stag  with  a  Cross  on  its  Forehead; 
one  of  his  finest  works. 

S.  Jerome  in  the  Desert. 

S.  Jerome  seated  in  a  Room,  writing;  1514;  very  fine. 

A  Woman  with  Wings,  standing  on  a  Globe,  holding  a  Cup,  im- 
properly called  "Pandora's  Box;"  sometimes  called  "The  Great 
Fortune." 

A  Naked  Woman  on  a  Globe,  holding  a  Stick  with  a  Thistle  at  the 
end,  called  "  The  Little  Fortune." 

Melancholy;  a  Woman  resting  her  Head  on  her  Hand,  holding  a 
Compass;  very  fine. 

Three  Women  or  Witches,  with  a  Globe  over  their  Heads,  with 
the  letters  O.  G.  H.,  and  an  appearance  of  Hell  in  the  background ; 
copied  after  Israel  Van  Mecheln;  1497;  very  scarce. 

An  Armed  Man  on  Horseback  pursued  by  Death,  called  "  Death's 
Horse;"  best  impressions  before  the  date  1513. 

A  Coat  of  Arms  with  a  Skull,  a  Satyr,  and  a  Young  Woman; 
1503  ;  called  «  The  Death's  Head." 

A  coat  of  Arms,  with  a  Lion  and  a  Cock. 

A  Horse,  with  an  Armed  Man  with  an  Halberd  following. 

A  Man  mounted  on  a  Unicorn,  carrying  off  a  Woman  ;  called  "  The 
Rape  of  Proserpine  ;  "  very  scarce. 

Etchings  :  — 

Christ  seated,  leaning  his  Head  on  his  Hand,  with  a  figure  in  front 
pointing  towards  Him. 

One  of  the  Fathers  of  the  Church,  in  a  Cell,  with  two  Books.    1515. 

The  Virgin  and  Child  asleep,  with  a  Young  Female  kneeling. 
1519. 

Moses  receiving  the  Tables  of  the  Law.     1524. 

The  Cannon,  with  figures,  at  the  Entrance  of  a  Village ;  1518 ; 
said  to  be  etched  on  iron ;  very  scarce. 

Wood- Cuts  (Portraits)  :  — 

Albert  Diirer,  at  the  age  of  fifty-six,  inscribed  Albrecht  Durer  Con- 
lerfeyt,  etc. 

Albert  Dureri  Effigies,  edita  ex  linea  tabula,  etc. 

Bust  of  the  Emperor  Maximilian  I.     1519. 

Ulrichus  Varnbuler  ;  1522;  scarce. 

Wood-Cuts  (Various  Subjects)  :  — 

The  Life  and  Passion  of  Christ,  in  thirty-six  cuts. 

The  Life  of  the  Virgin,  in  twenty  cuts. 

S.  Anne,  with  the  Infant  on  her  Knee,  and  the  Virgin  kneeling 
with  two  Saints ;  in  chiaro-scuro ;  very  scarce. 

The  Holy  Family  in  a  Landscape,  with  two  Angels  crowning  the 


DURER  —  DYCE.  261 

Virgin,  and  three  Rabbits;  in  the  lower  part  of  the  print,  S.  Chris- 
topher carrying  the  Infant  Jesus;  scarce. 

The  Emperor  Maximilian,  with  the  Virgin  and  several  Saints  wor- 
shipping the  Saviour. 

The  Siege  of  Vienna,  in  two  sheets;  1527  ;  scarce. 

The  Triumphal  Car  of  Maximilian  I.,  in  eight  sheets. 

The  Rhinoceros,  with  a  German  inscription ;  scarce. 

Six  cuts  of  Ornaments  for  Tapestry  and  Embroidery. 

Engraver,  HOPFER,  Jerome.  S.  Hubert.  S.  Jerome ;  smaller 
than  the  original.  The  Great  Cannon. 

Engraver,  HOPFER,  Lambert.  The  Life  and  Passion  of  Christ; 
fifteen  small  plates. 

Engraver,  KARTARIUS,  Marius.  Christ  in  the  Garden;  Romse; 
1567.  S.  Jerome,  seated  in  a  Chamber. 

Engraver,  MONTAGNA,  Benedetto.  The  Nativity,  with  Joseph  at 
the  Well;  B.  M.  on  a  Tablet  hung  from  the  upper  part  of  the  house. 
The  Sorceress ;  B.  M.  at  bottom  on  the  left.  The  Virgin  suckling 
the  Child;  marked  B.  M. 

Engraver,  PRESTEL,  John  Gottlieb.     The  Holy  Family. 

Engraver,  RAIMONDI>  Marc  Antonio.  Set  of  seventeen  plates  of 
the  Life  of  the  Virgin ;  copied  from  the  wood-cuts  of  Diirer,  with  his 
monogram ;  on  the  last  plate  the  cipher  of  Marc  Antonio.  Set  of 
thirty-six  plates  of  the  Life  and  Passion  of  Christ;  copied  in  imita- 
tion of  the  wood-cuts  of  Diirer,  without  his  mark. 

Engraver,  SADELER,  Giles.  The  Virgin  and  Child.  Christ  bear- 
ing his  Cross. 

Engraver,  STEEN,  Francis  Van  der.  The  Martyrdom  of  the  11,000 
Virgins;  from  a  drawing  by  Van  Hoy,  after  the  picture  by  Diirer. 

Engraver,  WIERIX  or  WIERINX,  John.  The  Little  Satyr.  Adam 
receiving  the  Apple  from  Eve;  upon  a  tablet  is  inscribed  Albert 
Durer  inventor,  Johanes  Wierix  fac.,  cet.  16.  S.  Hubert  Kneeling 
before  the  Stag;  reversed  from  the  print  by  Albert  Diirer,  marked 
with  the  cipher  of  that  artist.  S.  Jerome  in  meditation. 

Dusart,  Cornelius,  born  at  Haerlem  (16657-1704).  Pupil  of 
Adrian  Van  Ostade.  He  represented  subjects  of  vulgar  merriment. 
His  positions  are  extravagant,  and  his  heads  almost  or  quite  carica- 
tures. His  color  was  warm  and  powerful,  and  his  chiaro-scuro  well 
managed,  but  he  wanted  the  Rembrandtish  effect,  and  the  more 
truthful  spiritedness  of  Ostade.  He  used  more  colors  in  his  inte- 
riors than  others  who  painted  his  class  of  subjects.  One  of  his  best 
pictures  is  "  A  Fish-Market,"  and  is  in  the  Amsterdam  Mus.  Du- 
sart also  executed  a  number  of  excellent  etchings,  and  thirty-five 
plates  in  mezzotint. 

Dyce,  William,  born  at  Aberdeen  (1806-1864).  Director  of  the 
Government  School  of  Design  at  Somerset  House,  from  1837  to  1844. 
He  was  a  severe  painter,  a  learned  and  precise  man.  His  talents 


262  DYCE  —  EDMONDS. 

were  versatile.  He  painted  in  oil  and  fresco,  and  while  most  of  his 
subjects  were  religious  and  historical,  he  also  executed  some  fine 
landscapes.  His  works  are  in  the  House  of  Lords,  in  the  Queen's 
Robing  Room,  and  in  All-Saints  ch.,  Margaret  Street. 


E. 

Earlom,  Richard  (1740-1822).  An  accomplished  English  mez- 
zotirit  engraver.  His  "  Bathsheba  leading  Abishag  to  David,"  has 
been  called  the  chef-d' ceuvre  of  mezzotint  engraving.  His  fruit  and 
flowers  after  Van  Huysum  are  also  much  admired.  Boydell  pub- 
lished the  "  Liber  Veritatis,"  containing  200  plates  by  Earlom. 

Eckhout,  or  Eeckhout,  Gerbrandt  Van  der,  born  at  Amsterdam 
(1621-1674).  Pupil  of  Rembrandt.  He  composed  his  pictures,  es- 
pecially his  Biblical  subjects,  very  much  in  the  style  of  his  master.  In 
color,  too,  he  approached  the  same  excellence,  although  his  whole 
effect  is  cooler  than  that  of  Rembrandt.  His  works  are  well  consid- 
ered. Among  the  best  are  the  "  Raising  of  Jairus'  Daughter,"  Ber- 
lin Mus. ;  "  Woman  taken  in  Adultery,"  Amsterdam  Gall.;  "David 
and  Abigail,"  Schleissheim  Gall.;  "  Christ  Teaching  in  the  Tem- 
ple," Cabinet,  Munich  Gall.;  and  "Hannah  giving  Samuel  to  be 
dedicated  to  the  Lord,"  in  the  Louvre. 

Edelinck,  Gerard,  born  at  Antwerp  (1627-1707).  An  eminent 
engraver.  Pupil  of  Cornelius  Galle.  It  is  difficult  to  select  the 
best  of  the  numerous  works  of  this  artist.  He  interpreted  Raphael 
with  great  truth,  and  his  engravings  after  Le  Brun  and  other  French 
artists  are  very  superior.  He  used  the  graver  only.  His  plates  are 
highly  finished,  and  yet  they  are  spirited  and  bold.  "The  Holy 
Family,"  after  Raphael,  and  the  "  Tent  of  Darius,"  after  Le  Brun, 
are  among  his  best  works.  Some  of  his  portraits  are  also  very  fine. 

Edema,  Gerard,  born  at  Friesland  (1652-1700).  Pupil  of  Ever- 
dingen ;  like  him  he  painted  wild,  rocky  landscapes  with  waterfalls, 
etc.  They  were  often  Norwegian  views,  and  he  also  went  to  New- 
foundland for  the  study  of  scenery.  He  did  not  equal  Everdingen, 
and  his  chief  excellence  was  in  the  representation  of  falling  water. 

Edmonds,  John  W.,  born  at  Hudson,  New  York  (1806).  He 
was  known  as  a  business  man  as  well  as  an  artist,  for  from  his  early 
years  he  was  a  clerk,  and  afterwards  the  cashier  of  a  bank.  He  re- 
moved to  New  York  city  in  1834.  When  he  first  began  to  exhibit 
his  pictures  he  used  an  assumed  name,  fearing  that  the  reputation  of 
being  a  painter  would  injure  him  in  business  circles.  He  was  accus- 
tomed to  paint  both  morning  and  evening,  and  this  continued  appli- 
cation weakened  his  health  so  much  that  in  1840  he  went  to  Europe 
for  rest.  His  pictures  may  be  called  genre,  and  are  such  as  appeal 
yery  strongly  to  all  classes  and  ages.  His  "  Gil  Bias  and  the  Arch- 


EDMONDS  —  ELMAR.  263 

bishop  ' '  belongs  to  J.  Taylor  Johnston  of  New  York  ;  "  Dame  in  the 
Kitchen,"  to  J.  L.  Claghorn;  "Boy  Stealing  Milk,"  and  "Bashful 
Cousin,"  to  Jonathan  Sturges;  and  "Bargaining,"  the  "  Wind- 
mill," and  the  "Image-Peddler"  to  R.  L.  Stuart.  "The  Penny 
Paper  "  was  one  of  his  most  successful  attempts,  and  some  of  his  other 
subjects  are  "Sparking,"  engraved  by  the  Art-Union;  "Comforts 
of  Old  Age;"  "  Dominie  Sampson;  "  "  Sam  Weller,"  etc. 

Egg,  Augustus  Leopold  (1816-1863).  His  subjects  may  be 
called  high  genre.  His  best  pictures  are  "  Catherine  seen  by  Peter 
the  Great  for  the  first  time ;  "  "  The  Life  and  Death  of  Bucking- 
ham ;  "  "  Past  and  Present ; "  "  The  Night  before  Naseby ;  "  and  his 
last  work,  "  Catherine  and  Petruchio."  He  is  noticeable  for  the 
spirit  of  his  pictures  in  both  serious  and  comic  subjects.  He  died 
at  Algiers,  when  travelling  for  his  health. 

Egmont,  Justus  Van,  born  at  Leyden  (1 602-1 6  74) .  Pupil  and  as- 
sistant of  Rubens.  He  worked  with  his  master  on  the  pictures  for 
the  churches  of  Mechlin,  on  those  illustrating  the  life  of  Marie  de' 
Medicis,  and  others.  Egmont  was  appointed  painter  to  Louis  XIH., 
and  Louis  XIV.  He  also  painted  in  conjunction  with  Simon  Vouet. 
In  the  Vienna  Gall,  there  are  two  portraits  of  Philip  IV.  of  Spain,  by 
Egmont  alone.  They  are  too  smooth  in  execution,  but  good  in  color 
and  expression,  and  prove  him  to  have  been  a  good  painter. 

Eimbeck,  Johann  Raphon  Von.  In  the  choir  of  Halberstadt 
Cath.  there  is  a  triptych  by  this  painter,  dated  1508.  The  centre  is 
a  picture  of  the  Crucifixion,  and  the  wings  represent  the  Annun- 
ciation, the  Adoration  of  the  Magi  and  that  of  the  Shepherds,  and 
the  Presentation.  There  is  life  and  variety  of  expression,  but  the 
color  is  .not  good,  and  the  whole  effect  is  somewhat  coarse. 

Elliger  or  Elger,  Ottomar,  the  Younger,  born  at  Hamburg  (1666- 
1732).  After  some  other  instruction  he  became  the  pupil  of  Gerard 
Lairesse,  whose  style  he  imitated.  He  was,  like  Lairesse,  very  mind- 
ful of  details  in  costume,  etc.,  and  his  architectural  representations 
were  good.  He  painted  historical  subjects,  such  as  the  "  Death  of 
Alexander,"  which  he  did  for  the  Elector  of  Mentz.  His  principal 
works  are  in  Amsterdam. 

Elliot,  Charles  Loring,  born  at  Scipio,  New  York  (1812-1868). 
One  of  the  very  best  of  American  portrait  painters.  His  pictures  are 
all  that  one  can  desire  a  portrait  to  be.  Full  of  expression  and  char- 
acter, life-like  in  effect,  and  well  colored.  He  executed  an  immense 
number,  and  among  his  sitters  were  many  men  eminent  in  different 
departments  of  life;  clergymen,  authors,  artists,  statesmen,  and  mili- 
tary men.  His  portrait  of  Fletcher  Harper  is  considered  a  master- 
piece. Some  of  his  pictures  may  be  seen  in  the  City  Hall  of  New 
York,  in  the  State  Library  at  Albany,  and  in  the  Mercantile  Li- 
brary of  Baltimore. 

Elmar  or  Elmer,  Stephen,  lived  principally  in  Farnham.  hi  Surrey, 


264  ELMAR  —  ENGELBRECHTSEN. 

where  he  died  about  1795.  He  painted  still-life,  such  as  dead  game, 
fruit,  and  flowers.  His  pictures  are  seen  in  old-fashioned  collections 
and  are  executed  with  spirited  fidelity. 

Elstracke,  Reginald,  or  Renold.  An  English  engraver  of  about 
1620.  He  engraved  some  portraits  which  are  prized  for  their  con- 
nection with  history,  more  than  for  their  merits  as  engravings.  When 
he  did  not  sign  his  plates  with  his  full  name,  he  used  his  initials, 
RE. 

Elzheimer,  Adam,  born  at  Frankfort  (1574-1620).  He  studied 
first  under  Philip  Uffenbach,  then  went  to  Rome,  where  he  was  called 
II  Tedesco.  His  pictures  were  often  painted  on  copper,  which  was 
a  disadvantage  in  regard  to  the  "quality"  (as  artists  say)  of  his 
color.  He  had  an  intense  love  of  nature,  and  after  studying  a  view, 
would  go  away  and  paint  it  with  marvellous  exactness,  even  to  the 
shadows  at  the  time  of  day  he  chose  to  represent,  and  all  without  a 
sketch.  His  pictures  were  always  small,  and  exquisite  in  finish.  He 
loved  to  introduce  figures,  and  many  times  repeated  the  "  Holy  Fam- 
ily" and  "  Tobit  and  the  Angel."  He  was  fond,  too,  of  effective 
lights,  and  sometimes  gave  moon  and  torch  light  in  the  same  work. 
He  married  an  Italian,  and  had  a  numerous  family,  and  though  well 
paid  for  his  pictures,  he  spent  so  much  time  on  them  that  he  became 
involved  in  debt  and  was  thrown  into  prison.  He  died  there,  or  very 
soon  after  his  liberation.  Rubens  and  the  Chevalier  Goudt  assisted 
him,  but  in  vain.  His  works  became  very  valuable  after  his  death, 
and  the  works  of  other  painters  were  often  called  by  his  name.  There 
are  about  60  engravings  after  the  works  of  Elzheimer.  Some  of 
these  are  by  Hollar,  and  seven  by  Count  Goudt,  who  was  also  his 
pupil.  He  is  said  to  have  etched  several  plates  himself,  but  that  of 
"Tobit  leading  his  Father  "  is  the  only  authentic  one.  His  " Flight 
into  Egypt,"  in  the  Louvre,  has  been  called  his  masterpiece.  Other 
important  works  are,  "  The  Good  Samaritan,"  Louvre;  "Paul  and 
Barnabas,  at  Lystra;"  and  "Christ  at  Emmaus,"  Stadel  Institute, 
Frankfort;  "  Flight  into  Egypt,"  Munich  Gall;  "  Repose  in  Egypt," 
and  another  "  Flight  into  Egypt,"  Vienna  Gall.;  and  the  "  Triumph 
of  Psyche, "Uffizi  Gall. 

Empoli,  Jacopo  Chimenti  da  (1554-1640).  An  imitator  of  An- 
drea del  Sarto.  His  Madonnas  were  much  admired.  A  picture  of 
S.  Ivo,  Florence  Gall.,  is  one  of  his  best  works.  He  was  so  injured 
by  falling  from  a  scaffolding,  that  he  could  not  paint  in  fresco.  He 
was  so  fond  of  good  eating  that  he  was  called  UEmpilo,  which  is  to 
say,  a  stew-pan. 

Engelbrechtsen,  Cornells,  born  at  Leyden  (1468-1533).  Very 
little  is  known  of  this  old  painter.  The  only  picture  known  to  be  his 
is  an  altar-piece  in  the  Town  Hall  at  Leyden.  The  centre  has  a  pic- 
ture of  the  "  Crucifixion,"  the  wings  those  of  the  "  Sacrifice  of  Abra- 
ham "  and  the  "  Lifting  of  the  Brazen  Serpent ; "  tke  predella  has  the 


ENGELBBECHTSEN  —  EUTYCHIDES.       265 

44  Restoration  of  Mankind  by  the  Atonement  of  Christ."  It  is  very 
different  from  the  works  of  the  masters  who  had  preceded  him,  but 
is  hard  and  crude.  The  flesh  tones  are  brown,  and  the  heads  very 
monotonous. 

Es,  or  Essen,  Jacob  van,  born  at  Antwerp.  He  painted  flowers, 
birds,  fish,  lobsters,  etc.  He  excelled  in  representing  shell-fish.  In 
the  Antwerp  Mus.  there  is  a  picture  of  fruit,  dead  game,  vessels,  etc., 
which  is  good.  In  the  Vienna  Gall.,  two  large  pictures  of  fish-mar- 
kets are  excellent;  the  figures  in  them  are  by  Jordaens. 

Escalante,  Juan  Antonio,  born  at  Cordova  (1630-1670).  Pu- 
pil of  Francesco  Rici.  He  was  an  imitator  of  Tintoretto,  and  a 
painter  of  good  reputation.  In  the  churches  of  Madrid  some  of  his 
pictures  are  seen,  and  in  the  Royal  Gall,  there  are  two:  the  "In- 
fants Christ  and  S.  John,"  and  the  "  Holy  Family." 

Espagnondel,  Mathieu,  born  at  Paris  (1610-1689).  A  sculptor 
of  some  merit.  Several  of  his  works  are  in  the  gardens  at  Ver- 
sailles, and  he  also  executed  many  statues  for  churches. 

Espinosa,  Jacinto  Jeronimo  de,  born  at  Cocentayna,  1600;  died 
at  Valencia,  1680.  He  studied  under  Francisco  Ribalta,  and  also  in 
Italy.  He  was  pious,  industrious,  and  popular.  Some  of  his  works 
are  little  inferior  to  the  works  of  the  Ribaltas,  to  which  they  bear  a 
strong  resemblance.  In  1647  the  plague  appeared  in  Valencia,  and 
it  is  said  that  this  artist  placed  himself  and  his  household  under  the 
protection  of  S.  Luis  Beltran,  who  not  only  preserved  them  from  con- 
tagion, but  also  cured  the  master  of  water  on  the  brain.  For  these 
benefits  Espinosa  painted  a  series  of  pictures,  and  placed  them  in  the 
chapel  of  the  Saint,  in  the  convent  of  S.  Domingo.  The  Mus.  and 
churches  of  Valencia  contain  many  of  his  pictures. 

Etty,  William,  born  ajt  York  (1787-1849).  This  artist  especially 
excelled  in  color,  and  when  judged  by  that  alone  was  one  of  the  most 
highly  distinguished  English  painters.  His  works  were  numerous, 
and  embraced  a  large  variety  of  subjects.  In  the  year  of  his  death 
130  of  his  pictures  were  exhibited  in  the  room  of  the  Society  of  Arts, 
at  the  Adclphi.  He  declared  that  his  aim  had  been  in  all  his  large 
works  to  paint  some  great  moral  on  the  heart;  par  exemple,  by  three 
"Judith  "  pictures  he  would  represent  patriotism  and  self-sacrifice  to 
one's  country  and  God;  by  "  Benaiah,"  David's  great  captain,  he 
would  picture  valor,  etc. 

Eusebio  di  San  Giorgio.  A  pupil  of  Perugino.  He  was  never 
above  mediocrity.  His  pictures  are  dated  1505  and  later.  Most  of 
his  remaining  works  are  in  Perugia. 

Eutychides.  A  sculptor  of  Sicyon.  He  was  a  disciple  of  Lysip- 
pus  and  lived  B.  c.  300.  One  of  his  most  famous  works  was  a 
bronze  statue  of  the  Eurotas,  "  in  quo  artem  ipso  amne  liquidiorem 
piurimi  dixere."  Several  of  his  statues  are  known  to  us  in  the  writ- 
ings of  the  ancients,  and  that  of  "  Fortune  "  for  the  Syrians  on  the 
Orontes,  is  represented  by  a  copy  in  the  Vatican. 


266  EVEKDINGEN  —  EYCK. 

Everdingen,  Aldert  van,  born  at  Alkmaar  (1621-1675).  A  fine 
landscape  painter.  His  Norwegian  views  are  admirable.  They  are 
poetic,  with  clear  skies,  rocky  masses,  and  tumbling  waterfalls,  and 
dark,  lofty  fir-tre'es.  He  painted  storms  at  sea,  but  rarely.  His  col- 
oring is  occasionally  too  heavy  a  brown.  His  pictures  are  in  the 
Louvre,  Berlin  Mus.,  and  Munich  Gall.,  and  in  many  private  collec- 
tions. He  was  also  a  master  in  his  handling  of  the  etching  point. 
He  left  106  etchings,  which  are  known,  besides  57  plates,  which  illus- 
trate the  poem  of  "  Reineke  Fuchs."  The  original  drawings  for  these 
last  are  in  the  British  Mus. ,  as  are  also  some  landscapes  done  in  In- 
dia ink,  bistre,  and  sepia. 

Eyck,  Hubert  Van,  born  at  the  small  market  town  of  Maaseyck 
(about  1366-1426).  Little  is  known  of  his  history  beyond  the  facts 
that  he  spent,  probably,  his  middle  life  at  Bruges,  and  his  later  years 
at  Ghent.  That  he  effected  a  revolution  in  painting,  is  beyond  a 
doubt.  By  his  strong  intellectual  power  he  breathed  life  into  the 
symbolic  art  which  had  preceded  him.  He  represented  Scriptural 
scenes  and  characters,  but  he  did  it  through  the  medium  of  such  peo- 
ple as  he  had  seen  in  actual  life.  He  gave  his  figures  the  appearance 
of  men  about  him.  He  represented  nature  as  he  saw  it,  and  did  not 
hesitate  to  use  architectural  backgrounds,  or  even  to  make  well-fur- 
nished rooms  the  scenes  of  his  "  Annunciations"  and  other  sacred 
incidents.  For  all  the  requirements  of  his  brain,  the  mediums  here- 
tofore used  were  inadequate,  and  as  ever,  necessity  being  the  mother 
of  invention,  he  made  great  improvements  in  the  preparation  and  use 
of  colors.  He  used  oil  as  a  cement,  and  a  new  varnish,  which  from 
its  brilliant  freshness,  gave  a  reality  of  effect,  never  seen  by  his  con- 
temporaries. His  greatest  work  was  an  "  Adoration  of  the  Lamb," 
executed  for  Judocus  Vyts,  and  Lisbetta,  his  wife,  for  the  decoration 
of  their  funeral  chapel  in  the  ch.  of  S.  Bavo,  at  Ghent.  This  was 
arranged  with  a  centre  piece  and  wings  which  could  be  closed.  The 
inside  was  divided  into  twelve  different  pictures,  and  the  outside  of 
the  wings  was  also  painted.  It  is  not  known  exactly  how  much  of 
this  great  work  Hubert  did,  for  it  was  finished  by  John  Van  Eyck 
after  his  death ;  but  the  principal  figures  must  have  been  by  the  elder, 
for  they  show  a  power  which  no  work  of  John's  approaches.  Liibke 
says,  "  Hubert  is  confirmed  as  an  inventor,  by  contemporary  records. 
To  no  other  was  such  a  depth  of  thought  imputed,  combined  with 
such  abundance  of  ideas,  and  with  such  grand  power  of  characteriza- 
tion." The  donors  are  represented  on  the  outer  wings  in  a  masterly 
manner.  The  larger  panels  remain  in  their  original  place,  the  figures 
of  Adam  and  Eve  are  in  the  Mus.  at  Brussels  and  six  others  are  in 
the  Berlin  Mus.  There  are  but  two  other  works  attributed  to  Hu- 
bert. One  of  these  is  in  the  Mus.  in  S.  Trinidad,  at  Madrid,  and 
represents  the  u  Triumph  of  the  Christian  Church  over  the  Jewish 
Synagogue."  This  is  in  the  form  of  the  front  of  a  Gothic  building 


EYCK. 


267 


with  arches  and  towers,  and  the  whole  picture  is  made  up  of  several 
different  designs.  The  other  represents  "  S.  Jerome  extracting  a 
Thorn  from  the  Paw  of  the  Lion,"  and  is  in  the  Gall,  at  Naples. 


THE  ANCHORITES.   BY  HUBERT  VAN  EYCK. 

From  the  Ghent  Painting. 

Eyck,  John  Van  (1390-1440).  Brother  and  pupil  of  Hubert. 
He  lacked  the  power  of  his  brother  in  conception  and  design,  and 
preferred  smaller  works.  But  he  finished  with  greater  minuteness 
and  nicety  than  Hubert,  and  was  the  founder  of  that  school  among 
his  countrymen,  remarkable  for  delicacy  in  detail  and  finish  of  exe- 


EYCK. 


ANNUNCIATION.      BY  J.    VAN  EYCK. 

cution.  There  are  a  good  number  of  the  works  of  this  artist  remain- 
ing. The  following  is  a  list  of  the  more  important  ones  in  chronologi- 
cal order. 

The  "  Consecration  of  Thomas  k  Becket,"  dated  1421,  is  in  the  coll. 
of  the  Duke  of  Devonshire,  at  Chatsworth;  "  S.  Francis  receiving  the 
Stigmata,"  1428-29,  is  at  the  seat  of  Lord  Heytesbury,  in  Wilt- 
shire; the  wings  of  the  "  Adoration  of  the  Lamb,"  executed  by  Jan 
Van  Eyck,  Berlin  Mus.;  the  "Virgin  and  Child,"  at  Ince  Hall, 
near  Liverpool,  inscribed,  "  Completum  anno  domini  MCCCCXXXII, 
per  Johannem  de  Eyck,  Brugis"  with  the  motto,  "  Als  ich  chan,"  or, 
"  As  well  as  I  can;  "  the  "  Virgin  suckling  the  Child,"  Stadel  In- 
stitute, Frankfort,  called  the  "  Madonna  di  Lucca; "  portrait  of  a 
man,  National  Gall,  with  the  above  motto,  and  inscribed  "  Jolies  de 
Eyck  me  fecit  ano  MCCCC33,  Oct.  21  ;  "  also  in  National  Gall.,  por- 
traits of  himself  and  wife,  signed,  "  Johannes  de  Eyckfuit  hie  1434  ; " 
this  is  one  of  the  very  best,  and  perhaps  the  best,  of  his  works.  Van 
Mander  says  that  the  sister  of  Charles  V.,  the  Governess  of  the 
Netherlands  bestowed  a  post  of  100  guldens  yearly  upon  a  barber  to 
whom  this  picture  belonged.  The  Virgin  and  Child,  with  S.  Barbara, 
Burleigh  House;  another  Virgin  and  Child,  with  the  donor,  Louvre; 
a  Madonna  and  Child,  with  several  saints  and  the  donor,  signed 


EYCK  —  FABRIANO.  269 

1436,  Acad.  of  Bruges;  portrait  of  Jan  de  Leeuw,  same  date5  Belve- 
dere, Vienna;  another  portrait,  same  Gall.;  picture  of  S.  Ursula, 
Antwerp  Mus.,  1437;  Head  of  Christ  as  Salvator  Mundi,  1438, 
Berlin  Mus.;  portrait  of  his  wife,  1439,  Acad.  of  Bruges;  and  a  small 
highly  finished  altar-piece,  Dresden  Gall.  There  are  embroidered 
ecclesiastical  robes  in  the  Imperial  Treasury,  at  Vienna,  that  were 
probably  executed  from  the  cartoons  of  Jan  van  Eyck. 

Eyck,  Lambert  van.  It  is  but  recently  that  this  third  brother 
has  been  discovered,  but  the  records  of  Lille  declare  him  to  have 
been  a  painter,  and  it  is  now  thought  that  he  must  have  executed 
the  copy  of  the  great  Bruges  picture,  which  is  in  the  Antwerp 
Mus.,  No.  11.  There  is  also  a  triptych  in  Louvain,  now  attributed 
to  him. 

Eyck,  Margaretha  van.  Sister  of  the  foregoing  artists;  is  said 
to  have  been  a  skilful  painter,  but  no  picture  is  known  which  can 
positively  be  ascribed  to  her.  She  was  buried  in  the  Cath.  of 
Ghent,  where  Hubert  rested  before  her. 

F. 

Fabris  or  Fabre.  A  painter  of  views  in  the  vicinity  of  Naples. 
Some  of  his  best  works  resemble  those  of  Canaletto,  and  are  perspec- 
tive or  architectural  views,  with  figures,  etc.  The  sombreness  of  his 
color  is  his  greatest  fault.  He  also  visited  Malta,  and  his  works  are 
in  the  collections  of  Valetta. 

Fabriano,  Gentile  da.  This  is  the  name  by  which  this  painter  is 
known,  but  his  true  name  was  Gentile  di  Niccolo  di  Giovanni  Massi, 
of  Fabriano.  Born  between  1360  and  1370.  Pupil  of  Allegretto 
Nuzi.  It  has  been  said  that  he  was  associated  with  Fra  Angelico, 
either  as  master  or  pupil,  but  while  in  point  of  careful  preparation  of 
materials  and  in  finish,  they  might  be  compared,  in  result  they  were 
totally  at  variance.  He  painted  in  Brescia,  Venice,  and  Rome,  and 
died  in  the  latter  city,  and  was  buried  in  S.  Francesca  Romana.  He 
also  lived  some  time  at  Florence,  and  from  existing  records,  probably 
went  there  about  1422.  Jacopo  Bellini,  his  pupil,  went  to  Florence 
with  him,  and  there  seems  to  have  been  a  strong  friendship  between 
them.  It  is  not  possible  to  tell  when  he  went  to  Rome.  Vasari  says 
that  Michael  Angelo  praised  him  and  said  that  his  manner  corre- 
sponded to  his  name  of  Gentile.  Van  der  Weyden  thought  him  to 
have  excelled  all  other  masters  of  Italy.  It  is  scarcely  possible  to 
believe  that  the  first  opinion  could  have  been  other  than  a  sarcasm, 
for  his  style  was  characterized  by  bright  contrasts  in  color,  fusion  of 
tone,  with  no  shadow,  and  great  minuteness  in  detail  and  finish,  which 
would  have  found  a  response  in  the  Fleming,  without  doubt.  His  re- 
maining works  are  portions  of  a  "  Coronation  of  the  Virgin  "  at  the 
Brera,  Milan,  the  predella  of  which  is  at  Fabriano ;  a  "  Virgin  and 


270  FABRIANO  —  FAGE. 

Child  "  in  the  Acad.  of  Venice  ;  "  Adoration  of  the  Magi,"  Acad.  of 
Arts,  Florence;  some  side  panels  of  a  picture  in  the  ch.  of  S.  Niccolo 
di  la  d'Arno,  Florence;  another  panel  in  the  same  church  represent- 
ing the  Father  sending  the  dove  or  Holy  Ghost  down  to  the  Virgin 
and  Saviour';  a  "  Virgin  and  Child"  purchased  by  Mr.  James  Jack- 
son Jarves  ;  a  mutilated  remnant  of  a  "  Madonna  "  in  the  Cath.  of 
Florence ;  in  the  Casa  Morichi,  Fabriano,  the  "  Coronation  of  the 
Virgin"  and  "  S.  Francis  receiving  the  Stigmata,"  formerly  making 
the  two  sides  of  a  standard;  a  Virgin  seated  on  a  cushion  with  the 
Child  on  her  lap,  Pia  Casa  della  Misericordia,  Pisa ;  an  enthroned 
Madonna  with  saints,  Berlin  Mus. ;  and  a  few  others,  some  of  which 
are  in  private  collections. 

Fabullus,  called  also  Amulius,  was  a  Roman  painter,  distinguished 
fo»  his  decorations  of  the  "  Golden  House  of  Nero."  One  of  his 
works  there  was  a  picture  of  Minerva,  which  was  always  looking  at 
the  beholder,  from  whatever  point  observed.  Pliny  says  he  painted 
but  a  few  hours  a  day,  and  so  valued  his  dignity,  that  he  would  not 
lay  aside  his  toga  even  when  employed  upon  scaffoldings,  or  among 
machinery,  and  calls  him  "  gravis  et  severus,  idemque  floridus." 

Fachetti,  Fietro,  born  at  Mantua  (1535-1613).  He  went  to 
Rome  during  the  time  of  Gregory  XIII.,  where  his  portraits  were  so 
much  admired  that  every  person  of  distinction  desired  to  be  painted 
by  him.  He  was  also  an  engraver.  Bartsch  mentions  two  prints  by  . 
him,  which  have  been  claimed  by  Niccolo  van  Aelst.  One  is  a 
"  Holy  Family,"  after  Raphael,  and  the  other  "  Christ  bearing  his 
Cross." 

Facini,  Pietro,  born  at  Bologna  (1560-1602).  Pupil  of  Annibale 
Carracci,  of  whom  it  is  said  that  the  master  became  jealous.  Facini 
later  established  an  Acad.  of  his  own.  But  he  had  little  real  merit 
beyond  that  of  color.  In  this  he  was  truly  admirable,  and  resembled 
Tintoretto.  Some  of  his  works  are  in  the  churches  of  Bologna. 
There  are  also  some  prints  attributed  to  Facini. 

Faenza,  Gio.  da.  In  Faenza  there  is  a  Madonna  and  Child  with 
Angels  and  Saints,  executed  by  this  painter  in  1506.  It  is  in  the 
Gymnasium  (convent  of  the  Serviti),  and  is  a  worthy  specimen  of 
that  Umbrian  school  which  preceded  Raphael. 

Faes,  Peter  van  der.     See  Lely. 

Fage,  Raymond  de  la,  born  at  Toulouse  (1648-1690).  Cele- 
brated for  his  drawings  with  the  pen.  They  are  little  more  than  out- 
lines, but  are  admirable  for  their  grace  and  spirit.  It  is  said  that  he 
visited  Carlo  Maratti  in  his  studio,  and  was  offered  a  palette  and 
brushes.  De  la  Faga  declined  them,  saying  he  did  not  paint.  Ma- 
ratti declared  himself  pleased  at  that,  and  said  that  if  he  could  paint 
as  well  as  he  could  draw,  he  should  himself  abandon  the  brush.  He 
also  etched  some  designs  of  his  own,  and  others  have  been  engraved 
by  Audran,  Vermeulen,  etc. 


FAITHORNE  —  FANTUZZI.  271 

^  ^— *         Paithorne,   William,  the  Elder,  born  in  London ; 

ST     fff        died    1691.     An   eminent    engraver.     His   best   works 

'  were  his  portraits.     These  are  executed  with  the  graver 

almost  entirely,  and  are  admirable.     His  plates   are  numerous,  and 

some  which  are  scarce  are  very  valuable. 

Falcone,  Aniello,  born  at  Naples  (1600-1665).  Pupil  of  Ribera, 
called  Spagnoletto.  The  first  painter  noted  for  battle  pieces.  The 
school  which  arose  from  the  influence  of  this  master  was  connected 
with  history,  for  under  Masaniello  it  was  organized  as  the  "  Com- 
l><i<inia  della  Morte"  and  took  part  in  the  insurrection.  Aniello  was 
the  teacher  of  Salvator  Rosa.  His  drawing  was  correct  both  in 

O 

figures  and  horses;  he  gave  much  animation  to  his  designs,  and  his 
color  was  effective.  His  easel  pictures  were  good,  and  his  works  are 
well  esteemed.  After  the  death  of  Masaniello,  Falcone  went  to 
France,  and  Salvator  to  Rome.  There  are  a  large  number  of  engrav- 
ings attributed  to  this  painter. 

Falconet,  ^tienne  Maurice,  born  at  Paris  (1716-1791).  Pupil 
of  Lemoine.  He  became  an  eminent  sculptor,  and  was  appointed 
Professor  and  Rector  of  the  Royal  Acad.  He  was  invited  to  St. 
Petersburg  by  Catherine  II. ,  and  executed  a  bronze  equestrian  statue 
of  Peter  the  Great.  After  his  return  to  Paris  in  1778,  he  devoted 
himself  to  literary  pursuits.  His  most  important  works  in  Paris  were 
executed  for  the  ch.  of  S.  Roch  and  that  of  the  Invalides. 

Falens,  Karel  van,  born  at  Antwerp  (1684-1733).  An  imitator 
of  Wouvermans,  and  a  reputable  painter.  The  smoothness  of  his 
touch  takes  from  the  spirit  of  his  pictures.  There  is  a  work  of  his 
in  the  Berlin  Gall.,  representing  figures  and  animals  in  a  landscape, 
and  a  "  Departure  of  a  party  of  Falconers,"  in  the  Dresden  Gall. 

Fanelli,  Virgilio.  A  Florentine  gdlil^miih  who  practised  his  art 
in  Italy  and  Spain.  He  executed,  in  1646,  the  great  chandelier  which 
is  still  suspended  from  the  dome  of  the  Pantheon  of  the  Escurial. 
This  was  made  at  Genoa,  and  has  twenty-four  burners,  with  many 
ornaments.  He  also  executed  the  throne  for  the  Madonna  del  Sa- 
grario  in  the  Toledo  Cath. 

Fantuzzi  or  Fontuzzi,  Antonio.     Said  to 

A  U  w  \C*     have  ^een  k°rn  at  Viterbo  about  1520.    There 

2    V  _L^?       is  much  disagreement  among  the  highest  au- 

thoritics  regarding  this  engraver.     Some  say 

that  he  and  Antonio  da  Trento  are  the  same  artist.  His  plates  are 
chiefly  after  Primaticcio,  and  are  scarce.  The  following  are  the 
principal  ones  :  — 

Silt  THIS  supported  by  two  Bacchante  and  surrounded  by  Satyrs; 
after  II  Rosso.  1543. 

Dispute  of  the  Muses  with  the  Pierides;  after  Primaticcio. 

Alexander  and  Roxana;  after  the  same  ;  circular. 

Festival  given  to  Thalestris  by  Alexander  ;  after  the  same.     1543. 


272  FANTUZZI  —  FERNANDEZ. 

Jupiter  directing  Minerva  to  dismiss  Venus,  Cupid,  and  Psyche; 
after  the  same  ;  oval.  1543. 

Titan  reposing  on  the  Bosom  of  the  Ocean  ;  Bologna  inventor. 
1544. 

The  four  Cardinal  Virtues. 

Farinato,  Paolo  (1526-1606).  A  great  ornamental  painter.  Kug- 
ler  calls  him  the  worthiest  predecessor  of  Paul  Veronese,  whom  he  re- 
sembled. His  "  Pagan  Sacrifice"  at  Vienna  is  a  fine  picture ;  his 
masterpiece  is  in  the  ch.  of  S.  Giorgio  at  Verona,  and  was  executed 
in  his  seventy-ninth  year.  It  represents  the  "  Miracle  of  the  Loaves 
and  Fishes;"  there  are  many  figures  introduced,  and  among  them 
are  portraits  of  his  own  family.  It  is  inscribed,  MDCIV.  Paulus 
Farinatus  de  Uberto  fecit  cetatis  suce  LXXIX.  There  is  no  doubt  that 
some  of  the  works  of  this  painter  are  called  those  of  Veronese.  Fari- 
nato  and  his  wife  died  the  same  day. 

Farrington,  Joseph  (1742-1821).  An  English  painter,  pupil  of 
R.  Wilson.  He  was  a  good  painter  of  park  scenery. 

Fassolo,  Bernardino,  born  at  Pavia.  A  picture  of  the  "  Virgin 
and  Child "  in  the  Louvre,  is  inscribed  "  Bernardinus  Faxolus  de 
Papia  faciebat  anno  1518."  It  is  so  much  in  the  style  of  Leonardo  da 
Vinci  that  it  is  believed  that  Fassolo  must  have  been  his  pupil. 

Fattore,  II.     See  Penni. 

Feke,  Robert.  An  early  colonial  painter.  One  of  his  remaining 
works  is  dated  1746.  It  is  said  that  "  he  was  taken  prisoner  and 
carried  to  Spain,"  and  there  learned  to  paint.  Upon  his  return  he 
settled  at  Newport,  R.  I.,  as  a  portrait  painter.  A  portrait  of  the 
wife  of  Governor  Wanton,  painted  by  him,  is  in  the  Redwood 
Library. 

Ferg,  Paul  Francis,  born  at  Vienna  (1689-1740).  Painter  of 
landscapes  with  architectural  adornments  and  figures.  His  works 
are  often  seen  in  England,  where  he  lived  about  twenty  years  before 
his  death.  Most  of  his  small  pictures  are  on  copper.  His  skies  are 
silvery  ;  his  figures  are  generally  engaged  in  merry-making,  and  his 
horses  and  donkeys  are  well  done.  He  occasionally  painted  sea 
pieces,  but  his  landscapes  are  his  best  works.  He  was  much  accus- 
tomed to  introduce  an  obelisk  into  his  pictures;  frequently  with  no 
apparent  meaning. 

Fernandez,  Antonio,  de  Arias,  born  at  Madrid;  died  1684. 
Pupil  of  Pedro  de  las  Cuevas.  He  was  an  excellent  colorist  and  ex- 
ecuted with  great  rapidity.  He  was  one  of  the  most  noted  Spanish 
artists  of  his  time.  In  the  Queen  of  Spain's  Gall,  there  is  a  picture 
by  him  of  the  "  Pharisees  questioning  Christ  concerning  the  Tribute 
Money." 

Fernandez,  Vasco,  born  at  Viseu,  1552.  But  little  is  known  of 
this  Portuguese  artist.  He  is  popularly  known  as  Gran-Vascot. 
Count  Raczynski,  in  his  "  Dictionnaire  Historico-Artistique  du 


FERNANDEZ  —  FERRARI. 


273 


Portugal,"  gives  two  illustrations  of  the  work  of  this  artist.  The 
"  Calvary,"  in  the  Cath.  of  Viseu  was  his  chef-d'oeuvre.  It  resembles 
the  works  of  Albert  Diirer  so  closely  that  it  has  been  attributed  to 
him.  The  other  illustration  is  "  S.  Peter  as  a  Pope." 

Ferrara,  Stefano  da.  Pupil  of  Mantegna.  There  are  many 
works  of  his  in  the  Brera  at  Milan.  They  are  peculiarly  fantastic, 
but  have  considerable  merit. 

Ferrara,  Ercole  da.    See  Grandi. 

Ferraresino.     See  Berlinghieri. 


A  WALL-PAINTING  IN  THE  CATACOMBS  OF  8.  CALIXTUS,  ROME. 


Ferrari,  Gaudenzio,  born  at  Valdugga  (1484-1549).  An  artist 
of  the  Milanese  school  ;  he  greatly  improved  by  the  study  of  the 
works  of  Leonardo,  and  later  in  life  he  worked  under  Raphael  at 
Rome.  In  his  style  all  the  different  influences  under  which  he  had 
formed  himself  may  be  traced,  and  in  addition  there  is  a  large  fan- 
tastic element  all  his  own.  His  design  is  correct,  his  execution  fin- 
18 


274  FERRARI  —  FIESOLE. 

ished,  and  his  coloring  brilliant  but  wanting  in  harmony.  He  is, 
however,  after  Da  Vinci,  one  of  the  very  best  Milanese  painters. 
His  works  are  very  numerous,  both  in  fresco  and  oils.  An  early  work 
of  great  merit  is  a  Group  lamenting  over  the  Dead  Christ,  Royal 
Gall.,  Turin.  A  "  Martyrdom  of  S.  Catherine,"  in  the  Brera,  Milan, 
together  with  a  "  Visitation  "  in  the  Solly  Coll.,  and  a  "  Madonna" 
in  the  Cath.  of  Vercelli,  are  among  his  best  easel-pictures.  In  the 
Brera  there  are  several  frescoes  formerly  in  S.  Maria  della  Pace. 
His  most  extensive  and  best  works  are  at  Varallo,  which  was  the 
pilgrim  shrine  of  Piedmont.  He  also  painted  in  the  convent  of  the 
Minorites:  in  S.  Maria  di  Loreto,  near  Varallo;  in  S.  Paolo,  at  Ver- 
celli; in  S.  Christoforo;  in  the  ch.  of  Saronno,  near  Milan;  and  his 
last  work  was  a  "  Scourging  of  Christ,"  in  S.  Maria  delle  Grazie  at 
Milan.  This  is  dated  1542,  and  is  powerful  and  spirited. 

Ferri,  Giro,  born  at  Rome  (1634-1689).  Pupil  of  Pietro  da  Cor- 
tona,  and  one  of  his  best  imitators.  He  excelled  most  in  his  studies 
of  children,  infant  angels,  or  amorini.  His  color  was  very  agreeable. 
Among  his  finest  works  are  his  frescoes  in  the  Pitti  Pal. ,  at  Florence, 
and  at  S.  Maria  Maggiore,  at  Bergamo.  His  works  are  in  some  of 
the  churches  at  Rome. 

Ferucci,  Andrea  di  Fiero,  born  1465.  He  was  an  architect  and 
sculptor  whose  first  works  were  done  in  Naples,  from  which  city  he 
went  to  Fiesole  and  executed  the  high-altar  in  the  Duomo.  Another 
similar  work,  made  for  S.  Girolamo  of  Fiesole,  is  now  in  the  South 
Kensington  Mus.  Some  of  his  sculptures  are  in  the  Cath.  of  Flor- 
ence, and  in  the  ch.  of  S.  Felicita.  His  works  are  somewhat  pleas- 
ing, but  he  was  not  above  mediocrity.  His  chef-d'oeuvre  was  the 
baptismal  niche  in  the  Cath.  of  Pistoja,  in  which  the  figure  of  Christ 
is  fine,  and  the  adoring  angels  beautiful. 

Fesele,  Martin.  An  imitator  of  Albert  Altdorfer.  There  are  pic- 
tures of  his  at  Nuremberg,  and  in  the  Schleissheim  and  Munich  gal- 
leries. That  in  the  latter  represents  the  siege  of  Rome  under  Por- 
senna,  and  was  painted  about  1530. 

Feti,  Domenico,  born  at  Rome  (1589-1624).  Pupil  of  Ludovico 
Cardi.  He  painted  small  pictures,  and  many  of  these  illustrated  the 
New  Testament  parables.  His  coloring  is  powerful,  and  his  heads 
full  of  expression.  A  mourning  figure  which  is  called  a  "  Magdalen  " 
in  the  Louvre,  and  "  Melancholy,"  in  the  Acad.  of  Venice  are  ex- 
cellent. His  works  are  not  at  all  numerous.  There  are  a  number  in 
Florence,  and  several  in  the  Dresden  Gall. 

Fiammingo,  II.     See  Duquesnoy. 

Fiammingo.  It  is  very  difficult  to  distinguish  the  artists  called 
by  this  name  in  Italian  writings.  Zani  mentions  64  such,  and  there 
are  undoubtedly  more. 

Fiesole,  Fra  Gio.  da,  called  Angelico  and  II  Beato;  born  at  Vic- 
chio,  in  the  province  of  Mugello  (1387-1455).  In  1407,  with  his 


FIESOLE.  275 

brother  Benedetto,  he  became  a  novice  in  the  Dominican  convent  of 
Fiesole.  He  had  been  christened  Guido,  but  now  took  the  name  of 
Giovanni.  At  this  time  the  convent  at  Fiesole  had  no  novitiate,  and 
the  brothers  were  sent  to  Cortona  to  the  care  of  the  master  of  nov- 
ices. This  explains  the  fact  that  the  earliest  works  of  Angelico  are 
at  Cortona.  It  is  believed  that  he  returned  to  Fiesole  in  1418,  where 
he  spent  eighteen  years.  In  1436  his  order  received  the  monastery 
of  S.  Marco,  in  Florence,  where  Angelico  executed  many  works;  here 
he  remained  until  called  to  Rome  by  the  Pope,  in  1446.  With  the 
exception  of  a  few  months  in  Orvieto,  he  remained  in  Rome  until  his 
death,  and  was  buried  in  the  ch.  of  the  Minerva.  The  title  of  the 
Angelic  could  scarcely  be  more  fittingly  applied  than  in  the  case  of 
this°holy  man.  His  life  was  one  of  simple  piety.  He  would  paint 
only  saintly  subjects,  and  would  receive  no  pay.  He  commenced  a 
work  with  earnest  prayer,  and  would  never  change  his  design,  be- 
lieving that  he  was  divinely  assisted,  and  any  change  would  thus  be 
sacrilegious.  He  excelled  all  others  in  depicting  religious  sentiment. 
His  works  were  finished  with  exquisite  care,  and  there  is  a  harmony 
both  in  composition  and  color  in  all  he  did.  His  draperies  gave  dig- 
nity and  character  to  his  figures,  and,  in  short,  "every  part  con- 
tributed to  that  unity  of  tenderness,  inspiration,  and  religious  feeling, 
which  mark  his  pictures,  and  which  are  such  as  no  one  man  had  ever 
succeeded  in  accomplishing."  Of  human  anxieties  and  struggles  he 
was  so  entirely  ignorant,  that  he  failed  to  depict  them  well,  and  the 
L;it  red  of  Christ  in  his  enemies  is  but  feebly  expressed  when  attempted 
by  Angelico.  This  is  noticeable  in  his  representations  of  the  Cruci- 
fixion, of  the  persecutions  and  martyrdoms  of  saints,  etc.  The  "  An- 
nunciation," and  the  "  Crowning  of  the  Virgin  "  were  favorite  and 
oft-repeated  subjects  of  his,  as  was  also  the  "  Last  Judgment."  He 
painted  a  great  number  of  small  panel  pictures.  The  best  ones  are 
in  the  Acad.  of  Florence.  Those  which  were  formerly  upon  the 
presses  for  the  silver  of  the  SS.  Annunziata  at  Florence  are  very 
fine.  At  S.  Domcnico  in  Perugia,  there  are  many  of  his  works,  and 
another  collection  of  his  small  pictures  is  in  the  Uffizi,  where  a  "  Cor- 
onation of  the  Virgin  "  deserves  especial  attention.  In  the  Vatican 
there  is  a  predella  illustrating  the  life  of  S.  Nicholas  of  Bari,  which 
well  displays  his  power  of  representing  what  might  be  called  semi- 
(/enre  subjects.  At  the  Stadel  Institute,  Frankfort,  there  is  a  fine  en- 
throned Madonna,  and  in  truth,  these  small  works  are  seen  in  many 
European  collections.  Of  his  larger  works  I  will  mention  those  at 
his  own  convent  in  Florence  :  a  "  Deposition  from  the  Cross,"  in  the 
Acad.  of  Florence;  the  doors  of  a  large  tabernacle  in  the  Uffizi;  a 
''  Coronation  of  the  Virgin,"  in  the  Louvre;  frescoes  in  the  chapel 
of  the  Madonna  di  S.  Brizio  in  the  Cath.  of  Orvieto;  and  lastly,  two 
chapels  in  the  Vatican  which  are  greatly  restored.  The  pictures  in 
the  monastery  of  S.  Marco  are  in  better  preservation.  While  in 


276 


FIESOLE  —  FILOCAMO. 


CORONATION  OF  THE   VIRGIN.      BY  FRA  ANGELICO. 

In  the  Acad.  of  Florence. 

Rome  the  Pope  desired  to  make  Angelico  Archbishop  of  Florence, 
but  he  refused  the  honor,  and  recommended  Fra  Antonio  of  his  order 
for  the  office.  The  Pope  acted  upon  his  suggestion,  and  the  good 
qualities  of  Antonio  proved  the  wisdom  of  Angelico. 

Fiesole,  Mino  da  (1400-1486).  A  sculptor  whose  works  are  in 
Florence  and  Rome,  and  are  remarkable  for  their  ornamental  decora- 
tions rather  than  for  the  figures. 

Pigino,  Ambrogio,  born  at  Milan,  1590.  A  pupil  of  Gio.  Paolo 
Lomazzo,  and  a  successful  imitator  of  Michael  Angelo.  His  works 
are  more  remarkable  for  the  elegance  and  correct  drawing  of  a  few 
figures  than  for  the  numbers  represented.  Some  of  his  best  works 
are  in  the  churches  of  Milan. 

Filippi,  Sebastiano,  called  also  Gratella,  born  at  Ferrara  (1532- 
1602).  After  studying  under  Camillo  Filippi,  his  father,  he  entered 
the  school  of  Michael  Angelo,  at  Rome,  and  became  one  of  his  best 
disciples.  He  was  called  Gratella  on  account  of  his  squaring  large 
works  when  reducing  them  to  a  smaller  size.  This  he  learned  of 
Michael  Angelo.  His  best  works  are  in  the  churches  of  his  native 
city. 

Filocamo,  Antonio  and  Paolo.  Natives  of  Messina,  who  after 
attending  the  school  of  Carlo  Maratti  at  Rome,  established  an  Acad. 
at  Messina.  They  worked  together  both  in  oil  and  fresco,  and  both 
died  of  the  plague  in  1 743.  Their  principal  works  are  in  the  churches 
of  Messina. 


FINIGUERRA  —  FIOKENTINO.  277 

Piniguerra,  Maso.  Flourished  about  the  middle  of  the  15th  cen- 
tury. He  was  a  goldsmith  and  niello-worker,  and  is  very  generally 
acknowledged  to  be  the  inventor  of  engraving  on  metal.  Before  his 
discovery,  metal  workers  had  been  accustomed  to  make  sulphur  casts 
of  their  works,  and  to  engrave  from  them,  but  Finiguerra  being  em- 
ployed to  make  a  Pax,  and  wishing  to  see  the  effect  of  his  work,  filled 
the  lines  made  by  his  graver  with  a  preparation  of  oil  and  lamp-black, 
and  the  plate  being  laid  by  chance  on  a  pile  of  damp  linen,  he  found 
his  design  reproduced  upon  it.  From  this  time  it  was  customary  to 
use  damp  paper,  and  a  roller  to  take  off  the  designs  wished  for.  The 
"  Coronation  of  the  Virgin,"  the  subject  of  the  Finiguerra  Pax,  was 
engraved  in  1452.  The  original  plate  is  in  the  Uffizi  Gall.,  and  the 
only  known  impression  from  it  is  in  the  Bibliotheque  de  Pai^s. 

Fink,  Frederick,  born  at  Little  Falls,  N.  Y.  (1817-1849).  He 
went  to  Europe  in  1840,  and  was  employed  in  making  copies  after 
Murillo  and  Titian.  He  manifested  good  talent  for  genre  subjects, 
but  died  before  reaching  the  excellence  he  had  reason  to  anticipate. 
His  original  works  are,  "  The  Young  Thieves;  "  "  A  Negro  Wood- 
sawyer;  "  "-The  Shipwrecked  Mariner;  "  and  "  An  Artist's  Studio." 

Finoglia,  Paolo  Domenico,  born  at  Orta,  in  the  kingdom  of 
Naples;  died  1656.  One  of  the  best  pupils  of  Stanzioni.  His  prin- 
cipal works  are  in  the  Certosa  of  S.  Martino,  which  towers  above 
Naples  on  the  steep  rock  of  St.  Elmo.  In  this  convent  the  best 
specimens  of  Neapolitan  art  are  gathered  together. 

Fiore,  Colaiitinio  del.  Much  has  been  written  and  said  of  this 
artist.  He  has  been  called  the  disciple  of  Francesco  Simone,  and 
certain  works  have  been  attributed  to  him,  but  the  more  recent  re- 
searches of  art  writers  and  students  have  failed  to  establish  what  has 
been  related  of  him,  and  some  even  doubt  if  he  ever  existed.  He  is 
usually  said  to  have  lived  from  1354  to  1444,  and  a  "  S.  Jerome  ex- 
tracting a  Thorn  from  the  Lion's  foot,"  in  the  Gall,  at  Naples,  was 
called  his  best  work.  This  picture  is  in  tempera,  although  it  has 
been  affirmed  that  he  painted  in  oil. 

Fiore,  Jacob ello  del.  A  Venetian  painter,  who  flourished  in  the 
first  half  of  the  15th  century.  About  his  time  a  change  took  place 
in  Venetian  art,  which  seemed  to  foretell  the  excellence  of  coloring 
reached  there  later.  As  an  example  of  this  progress  his  ' '  Madonna, ' J 
in  the  Manfrini  Gall.,  dated  1434,  is  a  work  of  interest.  He  had  a 
good  reputation  in  his  day,  but  the  extreme  ornamentation  of  his  fig- 
ures and  draperies  is  not  admired  in  more  modern  times. 

Florentine,  Stefano.  The  usual  account  of  this  old  painter 
is  that  he  was  born  at  Florence,  and  was  the  grandson  and  pupil 
of  Giotto  (1301-1350).  Vasari  says  that  he  surpassed  Giotto  in 
every  way;  that  he  established  the  rules  of  perspective,  and  prac- 
tised foreshortening.  A  "  Virgin  and  Child,"  in  the  Campo  Santo 
at  Pisa,  are  claimed  to  have  been  painted  by  him.  But  there  is 


278  FIORENTINO  —  FLEMAEL. 

nothing  really  known  of  him  or  his  works,  and  all  that  is  said  of  him 
must  be  taken  as  a  pleasant  tale  which  lacks  evidence  of  truthfulness. 

Fiori,  Mario  di.     See  Nuzzi. 

Fisher,  Alvan,  born  at  Needham,  Mass.;  died  1863.  A  portrait 
painter.  His  likeness  of  Spurzheim  is  a  valuable  picture.  He  had 
good  success  in  painting  children  with  dogs,  rabbits,  etc. 

Flaxman,  John,  born  at  York  (1755-1826).  His  father  kept  a 
plaster-cast  shop  in  London,  and  the  son  went  to  that  city  early  in 
life.  He  commenced  drawing  and  modelling  very  young,  and  gained 
his  first  prize  for  a  model,  when  eleven  years  and  five  months  old. 
At  thirteen  he  received  a  second  prize,  and  was  admitted  to  the 
Royal  Acad.,  at  fourteen.  In  his  youth,  he  painted  a  few  pictures  in 
oil.  In  1 782  he  married  Miss  Denman,  and  five  years  later  went  to 
Italy.  He  remained  there  seven  years,  and  was  a  close  student  of  the 
antique,  and  an  incessant  worker.  While  there,  he  executed  a  large 
group  for  Lord  Bristol,  representing  the  "  Fury  of  Athamas,"  from  the 
Metamorphoses  of  Ovid,  and  a  smaller  one  of  "  Cephalus  and  Aurora," 
for  Mr.  Hope.  It  was  also  in  Rome  that  he  made  the  designs  from 
Homer,  JEschylus,  and  Dante,  which  have  now  a  world-wide  reputa- 
tion. In  1794  he  returned  to  England,  where  he  was  constantly  em- 
ployed on  important  works  until  his  death.  It  is  not  possible  to  give 
an  entire  list  of  his  works  in  the  space  allotted  him  here,  but  many  of 
his  sepulchral  monuments  are  seen  in  the  cathedrals  and  churches  of 
England.  In  Glasgow  are  his  statues  of  Mr.  Pitt  and  Sir  John 
Moore,  in  bronze,  and  in  Edinburgh  that  of  Robert  Burns.  He  exe- 
cuted many  works  for  the  East  Indies,  one  of  which  was  not  quite 
completed  when  he  died.  One  of  his  best,  perhaps  the  best  of  his 
works  in  England,  is  the  group  of  the  *'  Archangel  Michael  and 
Satan."  This  was  one  of  his  latest  works,  and  was  made  for  the  Earl 
of  Egremont,  who  had  also  a  life-size  "  Apollo,"  which  is  very  beauti- 
ful. He  was  elected  Associate  of  the  Royal  Acad.,  in  1797,  Acad- 
emician in  1800,  and  Professor  of  Sculpture  in  1810.  His  lectures  in 
the  Acad.  have  been  published.  He  was  singularly  pure  in  heart  and 
life,  and  characterized  by  a  cheerful  and  attractive  manner,  which 
made  him  the  beloved  friend  of  old  and  young.  The  very  last  work 
he  did,  was  to  make  designs  for  the  exterior  embellishments  of 
Buckingham  Pal.,  which  would  have  been  executed  partly  by  him, 
and  entirely  under  his  direction,  had  he  lived.  The  friezes  on  the 
front  of  Covent  Garden  Theatre  were  all  designed  by  Flaxman,  and 
one  of  them,  and  the  figure  of  "  Comedy,"  were  executed  by  him. 
His  wife  possessed  an  intelligence  of  mind  and  love  for  art,  which 
enabled  her  to  appreciate  and  assist  the  studies  and  labors  of  her 
husband,  and  her  death,  in  1820,  was  a  grief  from  which  he  never 
recovered. 

Flemael,  Bertholet,  born  at  Liege  (1614-1675).  Pupil  of  Ge- 
rard Douffet.  He  visited  Italy,  and  on  his  return  was  much  em- 


FLEMAEL  —  FLOKIS.  27* 

ployed,  and  gained  a  good  reputation  in  Paris.  The  Chancellor 
Seguier  employed  him  at  Versailles,  and  he  painted  in  the  Carmelite 
and  Augustin  churches.  He  went  to  Liege,  but  was  invited  again 
to  Paris,  where  he  was  employed  in  the  Tuileries.  He  was  made  a 
professor  in  the  Royal  Acad.  and  every  inducement  was  offered  him 
to  remain  in  France.  But  he  returned  to  his  beloved  Liege,  and  was 
employed  in  embellishing  its  churches.  His  works  show  the  influence 
of  the  French  school.  He  loved  to  make  the  foreground  figures 
especially  fine,  and  finished  them  with  great  care,  but  his  color  was 
feeble,  and  there  is  little  feeling  in  his  works.  One  of  his  pictures, 
representing  "  Pelopidas  arming  against  the  Lacedemonians,"  is  in 
the  Dresden  Gall. 

Flinck,  Govaert,  born  in  Cleves  (1615-1660).  He  was,  after 
Eckhout,  the  scholar,  most  like  their  great  master,  Rembrandt.  His 
chief  occupation  was  portrait  painting,  but  he  succeeded  well  in  genre 
subjects,  and  sometimes  painted  historical  pictures.  He  was  also  a 
successful  imitator  of  Murillo.  He  settled  in  Amsterdam,  and  re- 
ceived the  freedom  of  the  city  in  1652.  He  made  a  fine  collection  of 
drawings  and  engravings  from  the  best  masters,  and  casts  from  an- 
tique sculpture.  It  was  sold  for  about  12,000  florins.  In  the  new 
Hotel  de  Ville  of  Amsterdam  is  his  picture  of  the  "  Regents,"  dated 
1642;  in  the  Amsterdam  Gall.,  his  picture  of  the  "  Archers  "  is  re- 
markable for  its  fine  portraits;  in  the  same  Gall,  is  "  Isaac  blessing 
Jacob,"  one  of  his  few  historical  pictures;  in  the  Berlin  Mus.,  the 
"  Expulsion  of  Hagar  ;  "  and  in  the  Munich  Gall.,  a  genre  picture  of 
the  "  Guard  Room."  At  the  time  of  his  death,  he  had  finished  the 
sketches  for  twelve  large  pictures,  which  the  Burgomasters  of  Am- 
sterdam had  commissioned  him  to  paint. 

Florigerio,  Sebastiano,  born  at  Udine.  Flourished  about  1533. 
Pupil  of  Gio.  Bellini,  and  an  imitator  of  Giorgione.  His  frescoes  at 
Udine  have  perished,  but  some  of  his  oil-pictures  remain  in  the 
churches  there,  and  two  Madonnas  with  Saints,  in  the  Venice  Acad., 
are  his  works.  His  color  was  pale  and  cold,  but  his  figures  are  well 
drawn,  and  the  composition  is  arranged  after  the  antique  manner. 

Floris,  Frans,  born  at  Antwerp,  real  name  Frans  de  Vriendt 
(1520-1570).  Pupil  of  Lambert  Lombard.  He  opened  a  school  in 
Antwerp,  which  was  much  frequented.  He  had  great  facility  of  exe- 
cution and  power  of  invention,  but  there  is  much  want  of  grace  and 
sentiment  in  his  pictures,  and  he  knew  too  little  of  drawing  to  be  a  fine 
painter.  His  life  was  very  wild,  and  his  intemperate  habits  prevented 
his  attaining  the  fame  and  fortune  which  the  patronage  and  favor 
of  his  friends  placed  before  him.  His  chef-d'oeuvre  is  in  the  Ant- 
werp Mus.,  and  represents  the  "  Fall  of  the  Angels."  Other  works 
of  his  are  in  the  same  place,  and  a  picture  of  Vulcan  showing  Venus 
and  Mars,  whom  he  has  in  a  net,  to  the  Gods,  is  in  the  Berlin  Mus. 
While  this  displays  the  mastery  of  his  hand,  it  is  very  tasteless ;  it  is 
dated  1547. 


280  FOGOLINO  —  FONT  ANA. 

Fogolino,  Marcello.  A  Friulan  who  flourished  about  1525.  He 
spent  his  youth  at  Vicenza,  where  some  of  his  works  remain.  His 
pictures  are  more  interesting  as  illustrations  of  the  style  of  his  time 
and  country,  than  for  any  merit  of  their  own.  In  the  Berlin  Mus., 
there  is  a  "  Virgin  and  Saints  "  by  him,  and  in  the  Acad.  of  Venice, 
a  "  Madonna  and  Saints  "  which  has  been  attributed  to  Bernardino 
Licinio.  He  also  painted  in  the  churches  of  Pordenone  and  Trent, 
where  his  pictures  may  still  be  seen. 

Folo,  Giovanni,  born  at  Bassano  (1764-1836).  An  eminent  en- 
graver. He  studied  in  the  school  of  Volpato,  but  later  he  made 
Raphael  Morghen  his  model.  His  "  S.  Andrew,"  after  Domenichino, 
is  very  highly  esteemed,  and  is  considered  his  chef-d'oeuvre  by  many. 
The  "  Madonna  de'  Candelabri  "  of  Raphael  and  the  "  Mater  Dolo- 
rosa  "  of  Sassoferato  were  engraved  by  Folo.  His  style  was  best 
suited  to  large  subjects,  and  his  plates  are  after  the  works  of  the  best 
masters,  namely,  Raphael,  M.  Angelo,  Guido,  Titian,  Poussin,  Thor- 
waldsen,  Canova,  etc. 

Fontana,  Domenico.  A  famous  architect,  whose  life  was  writ- 
ten by  Milizia,  and  who  is  especially  interesting  to  all  who  visit  Rome, 
on  account  of  his  having  removed  the  Egyptian  obelisk  from  its  an- 
cient position  to  the  Square  of  S.  Peter's.  This  was  done  in  1586, 
and  was  a  memorable  occasion  in  Rome.  After  great  preparations, 
the  morning  came  when  the  obelisk  was  to  be  raised.  Fontana  re- 
ceived the  blessing  of  the  Pope,  who  also  told  him  that  failure  would 
cost  him  his  head.  The  workmen  received  the  Holy  Eucharist.  The 
concourse  of  spectators  was  immense,  the  priests,  soldiers,  and  people, 
high  and  low,  were  crowded  in  the  streets  and  on  the  housetops. 
When  the  obelisk  was  raised,  the  guns  of  S.  Angelo  were  all  dis- 
charged, and  joy  was  universal,  and  when,  a  few  months  later,  the 
removal  was  completed,  and  the  obelisk  was  placed  on  its  pedestal, 
the  people  carried  Fontana  on  their  shoulders  in  a  triumphal  proces- 
sion, with  drums  and  trumpets.  Fontana  was  made  a  nobleman  and 
a  Knight  of  the  Golden  Spur;  he  had  a  pension  of  2000  crowns, 
which  descended  to  his  heirs;  ten  knighthoods;  5000  crowns  ready 
money,  and  all  the  materials  he  had  used,  which  were  valued  at 
20,000  crowns.  Two  bronze  medals  of  him  were  struck,  and  on  the 
base  of  the  obelisk,  a  Latin  inscription  was  cut  to  perpetuate  his 
name  and  honor. 

Fontana,  Prospero,  born  at  Bologna  (1512-1597).  He  had  a 
fine  mind,  good  invention,  and  many  requisites  for  a  good  artist,  but 
he  often  painted  so  hastily  and  carelessly,  that  his  works  were  very 
imperfect.  His  pictures  are  still  seen  in  Bologna.  He  also  painted 
portraits,  and  was  distinguished  in  that  branch  of  art  at  Rome  in  the 
time  of  Julius  III. ,  and  later. 

Fontana,  Lavinia,  born  at  Bologna  (1552-1614).  Daughter  of 
the  preceding,  whom  she  excelled.  Her  portraits  were  excellent, 


FONTANA  —  FORMENT.  281 

and  in  her  historical  subjects,  her  manner  is  clever  and  spirited. 
Some  of  her  works  are  in  the  churches  of  Bologna. 

Foppa,  Vincenzo,  born  at  Foppa,  territory  of  Milan.  Nothing 
positive  is  known  of  him  until  1456  ;  died  1492.  It  is  said  that  he 
was  a  pupil  of  Squarcione,  and  some  of  his  works  would  confirm  this. 
He  was  an  artist  of  more  than  usual  merit,  and  his  later  pictures  are 
much  better  than  his  earlier  ones.  His  outlines  were  well  drawn,  his 
faces  expressive,  and  his  color  good  and  well  blended.  He  lived  at 
Brescia  in  his  youth  and  returned  there  in  his  old  age,  and  was 
buried  in  the  ch.  of  S.  Barnaba.  He  also  resided  at  Pavia,  and 
painted  at  Milan  and  Savona.  In  the  Brera  there  is  a  S.  Sebastian, 
taken  from  the  ch.  of  S.  Maria  di  Brera,  and  the  only  one  remaining 
of  a  whole  cycle  which  he  painted  in  that  church.  It  is  called  his  chef- 
d'oeuvre.  His  works  are  also  in  the  Carrara  Acad.,  Bergamo;  in  S. 
Maria  di  Castello,  Savona;  in  the  National  Gall.;  and  in  different 
places  in  Brescia. 

Foppa,  Vincenzo,  the  Younger.  Very  little  is  known  of  him. 
He  was  a  subordinate  Brescian  artist  of  the  16th  century.  Son  and 
probably  pupil  of  the  preceding.  The  works  attributed  to  him  are 
in  several  churches  of  Brescia,  in  the  Scuola  Elementaria,  and  in 
the  Tosi  Gall. 

Forli,  Melozzo  da,  born  at  Forli;  died  1494.  Count  Girolamo 
Riario,  nephew  of  Pope  Sixtus  IV.,  governed  Forli,  and  through  his 
influence  Melozzo  went  to  Rome,  where  he  was  appointed  painter  to 
the  Pope,  and  received  the  honor  of  knighthood.  Only  small  por- 
tions of  his  works  remain,  but  they  prove  him  to  have  been  a  won- 
derful painter.  His  principal  work  was  the  "  Ascension  of  Christ," 
in  the  ch.  S.  Apostoli.  Portions  of  this  have  been  removed,  and  are 
preserved  in  the  sacristy  of  S.  Peter's,  the  Quirinal  Pal.,  and  in  the 
Lateran.  Grimm  says,  "  I  can  place  nothing  of  the  same  date  by  the 
side  of  these  figures  as  regards  boldness  of  composition.  For  an  im- 
agination, before  which  human  forms  hovered  in  such  bold  foreshorten- 
ing, and  a  hand  such  as  the  painter  possessed  who  could  sketch  so 
freely  and  firmly  what  his  mind  perceived,  I  find  combined  in  no 
painter  hitherto."  The  foreshortening  or  painting  of  figures  in  per- 
spective, on  vaults  and  ceilings,  was  his  invention  and  was  perfected 
a  half  century  later  by  Correggio.  His  draperies  were  somewhat  form- 
less; his  principal  figures  grand;  and  his  cherubs  and  angels,  graceful 
and  beautiful.  In  the  Vatican  there  is  a  picture  by  him  of  Sixtus  IV., 
surrounded  by  his  nephews.  Melozzo  da  Forli  was  a  very  important 
artist,  but  his  place  in  the  history  of  art  is  small,  on  account  of  the 
paucity  of  his  existing  works. 

Forment,  Damian,  born  at  Valencia;  died  1533.  He  went  to 
Italy  to  study,  and  it  is  supposed  that  he  formed  his  style  after  the 
works  of  Donatello.  In  1511  he  executed  a  work  at  Zaragoza, 
which  is  considered  one  of  the  finest  monuments  in  Aragon.  It  is  an 


282  FORMENT  —  FRANCESCA. 

altar-piece  of  alabaster,  for  the  Cath.  "  of  the  Pillar."  This  work 
occupied  Forment  nearly  nine  years.  It  represents  the  Assump- 
tion of  the  Virgin,  the  Nativity,  and  the  Purification.  In  1520  he 
began  a  retablo  for  the  high-altar  of  the  Cath.  of  Huesca.  This  oc- 
cupied thirteen  years.  It  is  of  alabaster,  and  represents  the  "  Death 
and  Passion  of  Christ."  The  Emperor,  Charles  V.,  invited  him  to 
enter  his  service,  but  he  died  soon  after.  He  left  a  large  estate. 
His  school  never  numbered  less  than  twelve  scholars. 

Fosse,  Charles  de  la,  born  at  Paris  (1640-1716).  He  was  ad- 
mired for  his  coloring,  which  he  acquired  from  the  study  of  Venetian 
art.  He  was  much  employed  on  the  churches  and  palaces  of  Paris, 
Versailles,  etc.  He  visited  England,  and  ornamented  the  mansions 
of  some  of  the  nobles.  His  design  was  incorrect  and  inelegant,  and 
his  color,  which  was  good,  was  much  inferior  to  that  of  Titian  or 
Vandyck. 

Foucquet,  Jean.  Flourished  1461-1485.  He  was  a  miniaturist, 
illuminator,  and  painter  to  Louis  XI.  A  Boccaccio  which  he  illumi- 
nated, is  at  Munich,  and  portions  of  a  Book  of  Hours,  also  by  him, 
belong  to  the  coll.  of  M.  Brentano  Laroche,  at  Frankfort.  There 
is  a  "  Virgin  and  Child  "  in  the  Gall,  at  Antwerp,  attributed  to  him. 
The  Virgin  is  said  to  be  a  portrait  of  Agnes  Sorel,  the  beautiful  mis- 
tress of  Charles  VII.  This  picture  is  pale  and  flat. 

Fouquieres,  Focquier,  or  Foucquier,  James,  born  at  Antwerp 
(1580-1659).  Pupil  of  Mompert  and  Jan  Breughel.  He  was  a 
fine  landscape  painter,  and  was  employed  in  the  Louvre  by  Louis 
XIII.  That  king  made  him  a  knight,  and  this,  with  other  flattering 
attentions,  rendered  him  so  vain  that  he  became  unendurable. 
Nicholas  Poussin,  who  was  employed  at  the  Louvre  at  the  same  time 
with  Fouquieres,  left  Paris  on  account  of  his  insolence  and  overbear- 
ing conduct.  His  drawing  was  good  and  his  pencil  free.  His  color 
was  somewhat  cold,  though  fresh  and  clear.  He  chose  picturesque 
scenes,  and  his  wagons,  figures,  etc.,  were  well  put  in. 

Fragonard,  Jean-Honor^,  born  at  Grasse  (1732-1806).  He 
painted  historical  subjects,  conversations,  and  bacchanals  with  con- 
siderable success.1  Some  rather  stiff  portraits  are  attributed  to  him, 
and  he  also  executed  several  etchings  from  his  own  designs,  and  those 
of  other  masters. 

Francesca,  Pietro  della,  born  at  Borgo  S.  Sepolcro.  He  is  dis- 
tinguished for  having  advanced  the  study  of  perspective.  Some  of 
his  frescoes  remain  in  his  native  place;  in  S.  Francesco,  at  Rimini, 
and  in  S.  Francesco,  at  Arezzo.  In  the  National  Gall,  there  is  a 
profile  portrait  in  tempera,  attributed  to  him.  In  the  Uffizi  there 
are  portraits  of  Federigo  di  Montefeltro  and  his  wife,  by  his  hand. 
He  is  said  to  have  been  the  teacher  of  Signorelli  and  Pietro  Perugino. 
He  was  living  in  1494. 

i  Four  fine  pictures,  by  Fragonard,  belonging  to  Mr.  Henry  Lee,  were  burned 
in  the  great  fire  in  Boston,  November  9,  1872. 


FRANCESCHINI  —  FRANCIA.  283 

Franceschini,  Baldassare,  called  II  Yolterrano,  born  at  Volterra 
(1611-1689).  He  was  most  distinguished  as  a  fresco  painter,  but 
his  oil  pictures  were  very  commendable.  His  correctness  of  design 
was  remarkable;  his  knowledge  of  foreshortening  perfect;  his  color 
harmonious;  and  his  figures  spirited.  His  works  both  in  fresco  and 
oil  may  be  seen  in  Florence  and  Volterra. 

Franceschini,  Marcantoiiio,  born  at  Bologna  (1648-1729). 
Carlo  Cignani  was  his  chief  teacher,  and  so  fond  of  him  that  he  gave 
him  attentions  and  privileges  beyond  all  his  other  pupils.  He  ex- 
celled as  a  machinist.  His  compositions  were  copious  but  without 
confusion.  His  inventive  powers  were  large,  and  he  had  facility  of 
execution.  Many  of  his  works  are  at  Bologna.  His  easel  pictures 
were  good;  his  angels  were  especially  beautiful. 

Franciabigio  or  Francia  Bigio,  real  name,  Francesco  di  Cristofano 
(1482-1525).  Pupil  of  Mariotto  Albertinelli.  He  was  a  friend  of 
Andrea  del  Sarto,  and  resembled  him  in  his  manner  of  painting.  In 
1513,  Francia  Bigio  was  employed  at  the  Servi  in  Florence,  and  it  is 
said  was  associated  with  Del  Sarto.  He  painted,  in  the  court  of  the 
Servi,  a  picture  of  the  ' '  Marriage  of  the  Virgin."  Just  before  it  was 
finished,  a  day  observed  with  especial  solemnity  by  the  Servites  came 
round,  and  the  monks  removed  the  screens  which  were  before  the  pic- 
ture. Francia  Bigio  was  so  angry  at  this  that  he  took  a  hammer  and 
did  much  injury  to  the  Virgin's  head,  and  to  other  portions  of  his 
work,  and  moreover,  he  could  never  be  persuaded  to  restore  it, 
neither  would  other  artists  do  so,  and  the  injuries  remain  to  this  day. 
In  1518-19,  he  worked  at  the  Scalzo,  and  in  1521,  together  with  Del 
Sarto,  at  the  Medici  Pal.  in  Poggio  a  Cajano.  He  was  always  a 
reputable  painter,  but  he  was  not  a  man  of  great  genius,  and  there- 
fore could  not  equal  many  others.  During  the  later  years  of  his  life, 
he  painted  with  great  rapidity,  and  took  every  order  that  was  offered 
him.  Several  of  his  frescoes  remain,  and  ;i  number  of  portraits  by 
his  hand,  are  in  various  collections  in  Europe.  The  "  Bath  of  Bath- 
sheba,"  at  Dresden,  was  painted  but  two  years  before  his  death. 
One  of  his  portraits  is  at  Windsor  Castle,  and  another  at  Stanstead 

House. 

Francia,  Francesco,  real  name  Francesco  di  Marco  Raibolini, 
bom  al  Bologna  (1450-1518).  As  a  goldsmith,  he  was  first  dis- 
tinguished, and  was  stew.ard  of  goldsmiths  in  1483.  He  was  also 
master  of  the  mint  to  the  Bentivoglio,  and  to  Julius  II.  at  Bologna. 
It  is  impossible  to  say  exactly  when  he  began  to  paint,  but  his  earliest 
known  work  is  a  Madonna  surrounded  by  six  saints,  dated  1490  or 
1494.  This  is  one  of  the  treasures  of  the  Bologna  Pinacothek.  His 
first  pictures  are  Umbrian  in  style,  and  much  resemble  those  of 
Perugino,  which  is  easily  accounted  for  by  the  fact  that  the  works  of 
that  master  were  taken  to  Bologna  near  the  close  of  the  15th  century. 
Later  in  life,  Francia  became  Raphaelesque  in  manner,  and  his  pic- 


284 


FRANCIA. 


tures  have  been  attributed  to  both  these  masters  whom  he  imitated. 
His  most  striking  characteristic  is  a  tender  and  agreeable  expression 
of  deep  religious  feeling.  His  figures  express  calmness  more  than  ac- 
tion; his  color  is  warm,  and  his  finish  delicate  and  careful.  His  only 
remaining  frescoes  are  in  the  oratory  of  S.  Cecilia,  at  Bologna,  and 
represent  the  marriage  and  entombment  of  that  saint.  An  altar- 
piece  in  the  Bentivoglio  chapel  in  S.  Giaconlo  Maggiore,  representing 
the  enthroned  Madonna,  with  saints  and  angels,  is  very  beautiful. 
The  color  is  especially  fine.  Various  other  works  of  his  are  in  BO- 


MADONNA.     BY  FR.  FRANCIA. 
Dresden. 

logna;  in  Munich  is  a  "  Virgin  adoring  the  Infant  Jesus,"  which  is 
very  attractive;  in  the  Brera,  another  enthroned  Madonna;  many 
portraits,  half  length  Madonnas,  and  Holy  Families  are  seen  in 
various  European  galleries.  All  have  the  same  oval  faces,  and  soft, 
dark  eyes;  the  same  calm  and  thoughtful  expression,  and  are  always 
pleasing.  He  retained  his  full  powers  at  the  time  of  his  death. 
When  the  S.  Cecilia  of  Raphael  was  finished,  he  sent  it  to  Francia 
and  requested  him  to  care  for  it  and  see  it  properly  hung  in  its  place. 
He  did  so,  and  soon  after  died,  it  has  been  said,  because  of  hi&  dis- 


FRANCIA  —  FRANCO.  285 

eovery  of  his  great  inferiority  to  Raphael.  It  is  well  known  that 
these  two  masters  were  friends,  and  corresponded,  but  it  is  not 
known  that  they  met.  There  are  few,  perhaps  no  other  specimens 
of  the  antico-moderno  style,  equal  to  the  works  of  Francia.  His  por- 
traits were  excellent,  and  in  some  of  his  groups  he  introduced  the 
likeness  of  the  donor  with  good  effect.  He  had  more  than  200 
scholars. 

Franck  or  Francken.  There  are  at  least  eleven  painters  and  en- 
gravers by  this  name,  and  probably  more.  There  is  some  difficulty 
in  distinguishing  between  them.  The  most  important  are  Hans 
Franck,  who  was  one  of  the  earliest  engravers  on  wood,  and  is  be- 
lieved to  be  the  same  as  Jan  Franck,  who  worked  for  Albert  Durer 
at  Nuremburg  ;  Frans  Francken,  the  Elder  (1544-1616),  Ambro- 
sius  Francken,  the  Elder  (1545-1618),  and  Jerome  Francken,  the 
Elder  (1542  7-1620)  were  pupils  of  Franz  Floris,  and  painted  in  his 
style.  The  Antwerp  Mus.  has  a  number  of  pictures  by  Ambrose. 
There  were  three  younger  Francken s  having  the  same  names  as  the 
elder  ones.  Of  these  Frans,  the  Younger,  was  the  most  important. 
Born  at  Antwerp  (1581  7-1642).  His  works  are  characterized  by  fine 
keeping  and  a  spirited  touch,  with  much  feeling  for  graceful  action. 
His  drawing  was  good,  and  he  had  fine  inventive  talents.  No  picture 
better  displays  his  powers  of  imagination  than  that  of  the  "  Witch's 
Sabbath,"  in  the  Vienna  Gall.,  dated  1607.  His  color  was  often 
heavy.  He  sometimes  painted  the  figures  in  the  pictures  of  Pieter 
Neefs,  Van  Bassen,  and  Jesse  Momper.  He  was  one  of  the  best 
genre  painters  of  his  time.  Jean  Baptiste  Francken  was  the  son  of 
Sebastian,  and  was  instructed  by  him.  Born  at  Antwerp,  1600, 
sometimes  called  Old  Francks.  He  improved  by  the  study  of  the 
works  of  Rubens.  His  best  pictures  are  the  interiors  of  museums 
;ind  galleries,  and  he  so  well  imitated  the  manner  of  different  artists, 
that  however  small  his  representations  are,  the  style  and  color  of  the 
painter  can  be  distinguished.  He  painted  vases,  suits  of  armor,  and 
objects  of  natural  history  with  wonderful  exactness  and  finish. 
Many  of  the  figures  which  he  introduced  were  portraits.  He  some- 
times painted  figures  in  the  pictures  of  Neefs,  and  sometimes  the 
figures  which  he  painted  were  encircled  with  flowers  by  Daniel 
Segers. 

Franco,  Battista,  called  H  Semolei,  born  at  Venice  or  Udino 
(1498-1566  7).  He  went  to  Rome  where  he  diligently  studied  the 
works  of  Michael  Angelo.  A  few  of  his  works  remain  in  Venice. 
The  finest  of  these  are  small  decorations  upon  ceilings,  such  as  those 
in  the  chapel  of  S.  Francesco  della  Vigna,  and  in  the  Scala  d'Oro  of 
the  Doge's  Palace.  His  most  important  large  works  are  also  in  the 
above-named  chapel.  A  good  portrait  of  Sansovino,  by  Franco,  is  in 
the  Berlin  Mus.  This  artist  merits  honorable  mention  as  an  en- 
graver. He  is  believed  by  some  to  have  been  the  pupil  of  Marc  An- 


286  FRANCO  —  FREDI. 

tonio.  Bartsch  mentions  more  than  100  plates  by  him.  His  drawing 
is  often  incorrect,  but  he  showed  great  love  for  the  antique,  and  re- 
spect for  the  traditions  of  the  past,  in  the  choice  of  his  subjects.  He 
worked  entirely  with  the  graver,  and  marked  his  plates  B.  F.  V.  F., 
for  Batista  Franco  Venetus  fecit. 

Frangois.  There  are  three  painters  by  this  name,  Lucas,  Peter, 
and  Simon.  The  first  two  were  father  and  son,  and  born  at  Mechlin; 
the  latter  was  a  native  of  Tours.  They  are  of  no  especial  importance. 

Francois,  Jean  Charles,  born  at  Nancy  (1717-1786  ?)  The  in- 
ventor of  the  engraving  called  the  Chalk  style,  which  represents 
crayon  drawings.  He  received  a  pension  of  600  livres,  for  this  in- 
vention. He  also  executed  some  portraits  with  the  graver. 

Fraser,  Charles,  born  at  Charleston,  S.  C.  (1782-1860.)  A  very 
successful  portrait  painter.  In  1857  his  works  were  exhibited  in 
Charleston,  and  numbered  313  miniatures  and  139  landscapes  and 
other  compositions. 

Fratellini,  Giovanna,  born  at  Florence  (1666-1 731).  Her  talents 
attracted  the  attention  of  the  Grand  Duchess  Victoria,  who  provided 
her  with  masters.  She  painted  in  oil,  miniature,  and  crayons,  and 
excelled  in  the  latter.  Her  reputation  spread  all  over  Italy,  and  she 
painted  the  portraits  of  many  nobles  and  eminent  persons.  In  the 
Ducal  Gall.,  Florence,  there  is  a  portrait  of  herself  engaged  in  paint- 
ing that  of  her  son,  which  is  one  of  her  best  works. 

Frazee,  John,  born  in  Rahway,  N.  J.,  1790.  A  sculptor  in  spite 
of  many  hindrances,  for  in  his  youth  there  was  no  brightness  but 
that  of  his  mother's  love;  and  it  was  not  until  1824  that  he  was  able 
to  execute  his  first  bust.  This  was  a  portrait  of  John  Wells,  and 
was  placed  in  Grace  Church,  New  York  city,  and  is,  according  to  Dun- 
lap,  the  first  marble  portrait  from,  a  native  hand.  At  this  time  he 
had  opened  a  marble-yard  on  Broadway,  with  Launitz,  and  it  was 
there  that  Crawford  first  practised  in  statuary.  After  this  Frazee 
made  busts  of  several  notable  men,  and  in  1831  that  of  John  Jay,  for 
which  Congress  made  an  appropriation. 

Fredi,  Bartolo  di,  born  at  Siena  about  1330.  He  was  associated 
with  Andrea  Vanni,  in  1353.  In  1361  he  was  employed  by  the 
government  of  Siena,  and  in  1362  went  to  S.  Gimignano,  where  he 
remained  several  years.  After  his  return  to  Siena  he  was  honored 
with  some  public  offices.  He  was  the  founder  of  the  noble  house  of 
the  Bartoli  Battilori.  Had  his  reputation  depended  alone  on  his 
real  artistic  merit,  he  would  not  have  occupied  a  leading  position. 
His  color  was  hard,  and  his  pictures  very  flat;  and  he  was  excelled 
by  many  artists  of  his  day  in  Pisa  and  Siena,  while  he  could  not  be 
mentioned  beside  those  of  Florence.  His  remaining  works  are  some 
pictures  in  S.  Francesco  of  Montalcino ;  an  "  Adoration  of  the  Magi," 
in  the  Acad.  of  Siena,  and  another  in  the  Ramboux  Coll.  at  Co- 
logne ;  and  a  u  Virgin  giving  the  Girdle  to  S.  Thomas,"  in  the  ch. 


FREDI  —  FUNGAL  287 

of  S.  Maria,  at  Bettona,  near  Assisi.  His  "  Descent  from  the  Cross," 
in  the  ch.  of  S.  Francesco,  is  dated  1382. 

Freminet,  Martin,  born  in  Paris  (1567-1619).  He  studied  some 
time  in  Italy,  and  on  his  return  was  made  painter  to  Henri  IV.,  and 
also  to  his  successor,  Louis  XIII.  He  was  much  employed  at  Fon- 
tainebleau.  A  picture  in  the  Louvre,  representing  "  Mercury  admon- 
ishing ^neas,"  is  a  good  example  of  his  work. 

Frey,  James,  born  at  Lucerne  (1681-1752).  An  eminent  en- 
graver, and  better  known  by  his  Italian  name  of  Giacomo  Frey.  He 
studied  in  the  school  of  Carlo  Maratti,  at  Rome.  He  left  a  large 
number  of  fine  plates  after  the  works  of  some  of  the  best  Italian 
masters. 

Frey,  John  Peter  de,  born  at  Amsterdam,  1770.  He  became  a 
distinguished  engraver,  though  he  could  only  use  his  left  hand.  His 
prints  after  Rembrandt,  Flink,  and  G.  Dow  are  much  esteemed,  es- 
pecially the  "  Anatomical  Lecture,"  the  "  Family  of  Tobias,"  the 
"  Presentation  in  the  Temple,"  and  the  u  Ship-builder  and  his  Wife." 

Frisius,  Simon,  born  at  Leuwarde,  in  Friesland,  about  1590.  An 
eminent  engraver,  and  the  first  who  brought  etching  to  perfection. 
His  prints  are  scarce  and  much  valued.  He  sometimes  marked  his 
plates  S.  F.  fecit,  and  frequently  fecit  only. 

Fruitiers  Philip,  born  at  Antwerp  (1625-1677).  He  first  painted 
historical  subjects  in  oil,  but  changed  to  distemper  and  miniature. 
He  was  very  celebrated  for  his  water-color  portraits,  and  so  much 
admired  by  Rubens  that  he  employed  him  to  paint  himself  and  fam- 
ily. He  also  made  some  etchings,  among  which  the  portrait  of 
Queen  Hedwig  Eleanor,  of  Sweden,  is  distinguished  for  its  excel- 
lence. 

Fuessli,  John  Caspar,  born  at  Zurich  (1706-1781).  A  good  por- 
trait painter,  and  the  author  of  the  "  Lives  of  the  Swiss  Painters,"  for 
which  work  he  designed  and  engraved  the  portraits  and  vignettes. 

Fiiger,  Henri,  born  at  Heilbronn  (1751-1818).  He  was  appointed 
Director  of  tin;  Imperial  Gall,  at  Vienna,  in  1806.  His  works  in  that 
Coll.  are  not  his  best.  German  writers  considered  him  one  of  the 
most  eminent  artists  of  his  time. 

Fulton,  Robert,  born  in  Lancaster  County,  Penn.  (1765-1815). 
It  is  well  known  that  this  great  mechanician  was  also  an  artist.  But 
very  few  of  his  works  remain.  There  is  in  Philadelphia  a  portrait 
by  him  of  Mr.  Plumstead's  sister;  it  belongs  to  her  family.  Fulton 
executed  the  first  panorama  ever  exhibited  in  Paris.  His  love  for 
art  was  very  great,  and  he  wrote  from  London  to  urge  the  people  of 
Philadelphia  to  buy  West's  pictures  as  the  nucleus  of  a  Gall.,  and 
bought  himself  the  "  Lear"  and  "  Ophelia,"  and  gave  them  to  the 
New  York  association  of  artists.  There  is  a  print  from  one  of  his 
pictures  representing  Louis  XVI.  in  prison,  with  his  family. 

Fungai,  Bernardino,  born  at  Siena.       Flourished  about   1512. 


288  FUNGAI  —FUSELI. 

There  are  numerous  works  attributed  to  this  artist  in  guide-books 
and  catalogues.  They  are  all  lifeless,  badly  drawn,  and  confused  in 
arrangement.  Several  of  these  are  in  the  churches  and  Acad.  of 
Siena.  They  are  also  seen  in  various  European  galleries. 

Furini,  Francesco,  born  at  Florence  (1604-1646).  Pupil  of  his 
father,  and  afterwards  of  Passignano  and  Roselli.  He  became  a 
priest  in  1640,  but  continued  to  paint  until  his  death.  He  has  been 
called  the  Guido  and  Albano  of  Florence.  His  heads  are  sometimes 
very  powerful;  his  face  shadows  are  deep  brown.  His  pastoral  sub- 
jects are  half  Spanish  in  appearance.  His  best  works  are  easel  pic- 
tures, and  are  much  esteemed.  His  women  and  children  are  elegant 
and  delicate,  and  he  excelled  in  the  representation  of  nymphs  and 
kindred  subjects. 

Furness,  William  Henry,  Jr.,  born  at  Philadelphia  (1827-1867). 
A  successful  painter  of  portraits.  He  studied  at  Diisseldorf,  and 
after  his  return  to  America  established  himself  in  Boston.  His  pic- 
tures are  in  the  possession  of  the  families  for  whom  they  were 
painted,  and  are  much  esteemed. 

Fuseli  or  Fiissli,  Henry,  born  at  Zurich  (1 741-1825).  He  was  ed- 
ucated for  the  church,  and  took  holy  orders,  but  in  1763,  having  a 
difficulty  with  a  magistrate  of  Zurich,  he  went  to  England,  where  he 
lived  until  his  death,  with  the  exception  of  eight  years  passed  in 
Italy.  He  intended  to  devote  himself  to  literature,  but  by  advice  of 
Sir  Joshua  Reynolds,  who  had  seen  his  drawings,  he  became  an 
artist.  As  a  painter  he  was  entirely  original,  and  remarkable  for  his 
wonderful  imaginations  and  fantastic  conceptions  of  his  subjects.  He 
had  a  good  knowledge  of  anatomy,  which  is  fully  shown  in  his  pic- 
tures. His  best  works  are  his  Milton  Gall.,  and  eight  pictures 
painted  for  Boydell's  Shakespeare  Gall.  These  are  all  extravagant 
and  incorrect,  but  extraordinary  in  design.  As  a  writer  and  critic 
of  art,  he  ranks  high,  but  is  not  free  from  the  same  extravagance  in 
his  intellectual  efforts  which  characterizes  his  paintings.  He  held 
the  offices  of  Professor  of  Painting,  and  Keeper  of  the  Royal  Acad. 
He  delivered  twelve  lectures  in  all.  He  was  very  witty  and  sarcas- 
tic, and  spared  none  who  came  in  his  way;  still  he  was  liked  by  the 
students,  for  they  knew  that  he  endeavored  to  build  up  the  best  in- 
terests of  the  Acad.  He  had  a  passionate  temper,  and  was  sometimes 
overcome  by  depression  of  spirits,  when  his  wife  was  accustomed  to 
make  him  angry,  as  a  fit  of  passion  restored  his  cheerfulness.  He 
was  very  learned,  and  could  speak  eight  languages.  When  not  em- 
ployed in  painting,  he  took  up  the  pen ;  and  when  eighty  years  old 
declared  himself  to  have  been  happy  in  the  fact  that  he  had  always 
been  occupied  in  something  that  he  liked.  There  are  many  sharp 
and  witty  sayings  of-  his  recorded,  and  his  life,  published  by  his 
executor,  John  Knowles,  is  very  interesting.  From  his  choice  of 
strange  subjects,  his  fellow-artists  called  him  "  painter-in-ordinary  to 


FUSELI  —  GADDI.  289 

the  devil; "  he  laughed  at  this,  and  said,  "  Aye,  he  has  sat  to  me 
many  times."  A  student  once  showed  him  a  drawing,  saying,  "I 
finished  it  without  using  a  crumb  of  bread."  "  All  the  worse  for 
you,"  answered  Fuseli;  "  buy  a  two-penny  loaf  and  rub  it  out.*' 

Fiiterer,  Ulrich.  In  the  Gall,  of  Schleissheim  there  is  a  large 
"  Crucifixion "  by  this  artist,  who  flourished  about  1480.  It  is 
painted  in  compartments  of  Gothic  architecture  to  imitate  sculpture. 

Fyoll,  Conrad.  Flourished  from  1461  to  1476.  There  are  pic- 
tures by  this  artist  in  the  Stadel  Institute,  at  Frankfort,  and  in  the 
Berlin  Mus.  Kugler  says,  "  He  has  something  tender  and  mild  in  his 
heads,  and  a  delicate,  silvery,  and,  upon  the  whole,  cool  tone  in  his 
flesh." 

Fyt,  Jan,  born  at  Antwerp  (1609-1661).  After  Snyders,  he  is 
the  greatest  Flemish  animal  painter.  His  greyhounds  cannot  be 
equalled  by  any  master.  His  live  dogs  are  excellent,  but  he  was 
most  successful  in  representing  dead  animals.  The  fur  of  animals 
and  the  plumage  of  birds  was  rendered  by  him  with  more  detail  of 
finish  than  by  Snyders,  and  with  wonderful  truth.  His  composition 
was  good,  and  he  had  much  animation ;  in  drawing,  he  is  not  always 
accurate,  but  his  effects  of  light  are  fine.  He  may  be  well  studied 
in  the  Munich  and  Vienna  Galleries,  which  have  fine  pictures  by  him. 
There  is  a  work  of  his  in  the  British  Mus.,  and  others  are  in  private 
collections  in  England.  He  sometimes  painted  in  conjunction  with 
Jordaens  and  Willeborts.  Jan  Fyt  also  executed  the  folowing 
etchings,  which  are  much  esteemed  :  — 

Eight  plates  of  Dogs  and  other  animals;  marked  Jo.  Fyt.  1640. 

Seven  plates  of  different  kinds  of  Dogs  with  landscape  back- 
grounds; 1642;  inscribed  Johannes  Fyt  pinx.  et  fecit. 

A  set  of  eight  small  plates  comprising  a  Horse,  a  Cart,  a  Dog, 
Goats,  Foxes,  and  three  of  Cows ;  very  scarce. 

G. 

Gaal  or  Gall,  Barent,  born  at  Haerlem  (1650-1703).  Pupil  of 
Philip  Wouvermans.  His  village  scenes  are  good  pictures  of  their 
class.  His  figures  have  no  special  merit,  but  his  effects  of  light  and 
shade  are  fine,  particularly  when,  like  Ruysdael,  he  paints  heavy 
clouds  with  the  sun  shining  on  distant  fields. 

Gabbiani,  Antonio  Domenico,  born  at  Florence  (1652-1726). 
The  works  of  this  artist  occupy  an  honorable  position  in  the  Floren- 
tine galleries  and  palaces.  His  landscapes  with  mythological  subjects 
resemble  those  of  Domenichino.  His  distant  scenery  is  grand.  His 
Cupids  are,  as  a  rule,  his  best  figures,  and  his  greatest  deficiency  is  in 
drapery.  He  was  a  pupil  of  Giro  Ferri. 

Gaddi,  Gaddo,  born  at  Florence  (1239-1312).  A  friend  of 
Cimabue,  whom  he  survived  twelve  years.  The  friend  also  of  Andrea 
19 


290  GADDI  —  GAINSBOROUGH. 

Tafi,  and  a  worker  in  mosaics.  He  made  a  fortune  which  was  the 
foundation  of  the  position  his  family  occupied  later.  Vasari  speaks 
of  many  of  his  works,  both  paintings  and  mosaics,  but  the  only 
remaining  ones  that  can  be  attributed  to  him  are  some  mosaics  in  the 
portico  of  S.  Maria  Maggiore,  at  Rome,  executed  in  1308,  and 
possibly  others  in  the  cathedrals  of  Florence  and  Pisa,  and  in  the 
Baptistery  at  Florence. 

Gaddi,  Taddeo,  born  at  Florence  (1300-1366?).  Son  of  the 
preceding.  He  was  held  at  the  baptismal  font  by  Giotto,  and  became 
the  favorite  disciple  of  that  great  master.  His  pictures  are,  in 
general,  in  the  style  of  Giotto.  Vasari,  who  saw  many  of  his  works 
which  are  now  destroyed,  thought  he  excelled  his  instructor.  His 
works  still  remaining  are  frescoes  from  the  life  of  the  Virgin,  on  the 
walls  of  the  Giugni  (formerly  the  Baroncelli)  chapel  in  Santa  Croce, 
at  Florence,  and  some  smaller  panel  pictures  in  the  Florentine  Acad. 
and  the  Berlin  Mus.  There  is  much  truth  and  feeling  in  the  frescoes, 
and  the  small  pictures  are  beautifully  executed.  His  countenances 
are  less  characteristic  than  those  of  Giotto,  and  his  entire  manner 
more  mechanical,  the  almost  unavoidable  result  of  having  been  the 
assistant  of  his  master,  for  more  than  twenty-four  years.  When  he 
was  asked  to  name  the  greatest  painter  in  Italy,  he  replied,  "  Art  has 
fallen  very  low  since  the  death  of  Giotto,"  and  it  was  the  misfortune 
of  Taddeo  and  others  who  followed  Giotto,  to  study  his  works  and 
practise  his  rules,  rather  than  to  draw  their  inspiration  from  nature, 
and  reproduce  her  more  perfect  models.  Taddeo  was  also  an  archi- 
tect, and  made  the  plans  for  the  Ponte  Vecchio  and  Ponte  a  Santa 
Trinita,  in  1336,  and  was  employed  at  Orsanmichele  and  the  Cam- 
panile. 

Gaddi,  Agnolo.  Son  of  the  preceding.  Time  of  birth  not 
known.  Died  1396.  The  pictures  of  Agnolo  are  sometimes  imposing 
at  a  distance,  but  do  not  bear  close  examination.  A  finely  drawn 
head  is  often  spoiled  by  disregard  to  the  details  of  the  features ;  his 
hands  and  feet  are  bad,  and  the  folds  of  the  flesh  are  indicated  by 
lines.  His  color  is  clear  and  transparent,  and  his  relief  better  than 
Taddeo's.  The  best  preserved  works  of  this  master  are  in  the 
chapel  of  the  Holy  Girdle  in  the  Cath.  of  Prato,  and  in  the  choir  of 
Santa  Croce,  at  Florence.  The  latter  are  a  series  illustrating  the 
history  of  the  Holy  Cross,  and  are  full  of  allegorical  allusions. 

Gaeta,  Scipione  da.     See  Pulzone. 

Gainsborough,  Thomas,  born  at  Sudbury,  in  Suffolk  (1727-1788). 
Pupil  of  Francis  Hayman.  He  became  very  eminent  as  a  portrait 
painter,  and  his  landscapes  are  much  esteemed,  while  his  fancy  pic- 
tures are  also  excellent.  He  settled  in  London  in  1774.  It  is  said 
that  he  never  put  his  name  on  any  picture.  When  he  died,  he  had 
56  paintings  and  148  drawings.  The  latter  are  much  valued  by  con- 
noisseurs and  collectors.  Several  of  his  fine  landscapes  are  in  the 


GAINSBOROUGH  —  GALLI.  291 

National  Gall.,  and  the  excellent  portraits  of  Mrs.  Siddons  and  Dr. 
Ralph  Shomberg  are  also  there.  In  the  Edinburgh  Gall,  there  is  a 
fine  likeness  of  the  Hon.  Mrs.  Graham.  Some  of  his  best  pictures 
of  genre  subjects  are,  the  "  Shepherd  Boy  in  a  Shower;  "  the  "  Wood- 
man and  Dog  in  a  Storm;  "  the  "  Cottage  Door;  "  and  the  "  Cottage 
Girl  with  Dog  and  Pitcher."  His  pictures  command  high  prices, 
one  having  been  sold  in  1867  for  £1800.  Many  of  his  works  have 
been  engraved. 

Galanino,  called  Baldassare  Alloisi,  born  at  Bologna  (1578- 
1638).  Pupil  of  the  Carracci,  and  one  of  the  ablest  artists  of  their 
school.  He  was  very  busy  in  Rome  in  painting  portraits  of  the 
most  illustrious  men  of  the  time  of  Urban  VIII.  His  larger  works 
were  for  the  churches  of  Bologna,  and  the  great  altar-piece  for  the 
ch.  of  Gesu  e  Maria,  at  Rome. 

Galassi,  Galasso,  born  at  Ferrara,  1380.  But  few  of  his  works 
remain,  and  these  are  in  the  churches  of  Bologna.  It  has  been  said 
that  he  learned  the  use  of  oil  colors  from  Van  der  Weyden,  but  all 
his  known  paintings  are  frescoes. 

Galaton.  A  Greek  painter  who  probably  lived  under  the  earlier 
Ptolemies.  He  executed  a  picture  probably  intended  to  ridicule  the 
Alexandrian  epic  poets.  It  represented  Homer  vomiting,  and  other 
poets  gathering  up  what  fell  from  him. 

Galestruzzi,  Gio.  Batista.  Of  his  paintings 
little  is  known,  but  he  was  the  friend  of  Delia  Bella, 
whose  manner  he  imitated  in  engraving,  and  acquired 
a  good  reputation.  His  plates  are  numerous,  and 
some  of  them  are  rare.  He  flourished  about  the  middle  of  the  1 7th 
century. 

F-p^        Galle,  Philip,  born  at  Haerlem,  1537.     The  first 
JCT    of  a  family  of  engravers  consisting  of  Theodore, 
/     VLr     1560,  and  Cornelius  the  Elder,  1570  (sons  of  Philip), 
and  Cornelius  the  Younger,   1600.      Cornelius  the 
Elder  excelled  the  others,  and  after  studying  in  Rome  established 
himself  in  Antwerp  as  an  engraver  and  print-seller.     He  left  a  con- 
siderable number  of  plates,  which  are  well  esteemed. 

Gallegos,  Fernando,  born  at  Salamanca,  probably  about  1475. 
He  followed  the  manner  of  Van  der  Weyden  and  Memling.  He  has 
been  called  a  pupil  of  Albert  Diirer,  and  his  works  are  said  to  resem- 
ble those  of  that  master.  His  best  picture  is  a  Madonna,  in  the 
chapel  of  S.  Clement,  in  Salamanca. 

Galli,  Gio.  Maria,  called  Bibiena  from  his  birthplace  (1625-1665). 
The  first  of  a  family  who  distinguished  themselves  in  art.  He  was  a 
pupil  of  Albano,  whose  gracefulness  he  successfully  imitated.  Some 
of  his  finest  works  are  in  the  churches  of  Bologna. 

Galli,  Ferdiiiando,  called  Bibiena,  born  at  Bologna  (1657-1743). 
Son  of  the  preceding,  he  was  very  eminent  as  an  ornamental  and 


292  GALLI  —  GARZI. 

decorative  painter,  and  was  sought  by  all  the  sovereigns  of  Europe. 
He  served  the  dukes  of  Parma  and  Milan,  and  went  to  Vienna  by 
invitation  of  the  Emperor  Charles  VI.  He  arranged  public  festivals 
with  much  magnificence,  and  made  great  improvements  in  the  dec- 
orations and  illusive  effect  of  scenic  decorations.  He  also  painted 
many  architectural  and  perspective  views,  which  are  in  the  galleries 
of  Italy  and  are  well  esteemed.  He  published  a  work  on  architect- 
ure. He  had  three  sons,  Alessandro,  Antonio,  and  Giuseppe,  who 
became  distinguished  as  decorative  artists  at  several  European 
courts. 

Galli,  Francesco,  called  Bibiena,  born  at  Bologna  (1659-1739). 
Brother  of  the  preceding,  to  whom  he  was  inferior.  He  painted  the 
same  class  of  subjects,  and  was  invited  to  Spain  and  appointed  prin- 
cipal architect  to  Philip  V. 

Garbo,  Raffaellino  del,  born  at  Florence  (1476-1524).  Pupil  of 
Filippino  Lippi.  His  earlier  works  are  characterized  by  amiability, 
and  an  elegant  tenderness  of  feeling.  His  works  in  the  Berlin  Mus. 
especially  display  this.  His  "  Resurrection,"  in  the  Florentine 
Acad.,  shows  the  same  dramatic  power  which  his  master  had.  Later 
in  life,  when  he  attempted  to  follow  M.  Angelo  and  Raphael,  he  was 
less  admirable,  as  may  be  seen  in  his  ceiling  pictures  in  the  chapel  of 
S.  Thomas  Aquinas  in  S.  Maria  Sopra  Minerva  at  Rome.  His  works 
are  also  seen  in  the  Louvre,  Dresden  Gall.,  Uffizi,  Acad.  of  Venice, 
Mus.  of  Naples,  and  in  some  private  collections. 

Gargiuoli,  Domenico,  called  Micco  Spadaro,  born  at  Naples 
(1612-1679).  Pupil  of  Salvator  Rosa,  and  painted  landscapes  and 
small  figures.  His  works  in  the  Studj  Gall,  at  Naples  are  very  in- 
teresting as  historical  representations  of  the  events  of  his  time.  One 
series  delineates  the  whole  tragedy  of  Masaniello,  and  the  horrors  of 
the  plague  of  1656  form  the  subjects  of  others. 

Gai  ofalo  was  called  by  this  name  from  his  custom  of  painting  a 
gilliflower  in  the  corner  of  his  pictures,  but  his  real  name  was  Ben- 
venuto  Tisio.  Born  at  Ferrara  (1481-1559).  He  executed  some  fres- 
coes in  Ferrara  which  caused  him  to  be  considered  the  head  of  the 
Ferrarese  school,  but  he  is  best  known  by  his  easel  pictures,  which 
are  in  various  galleries,  especially  in  Rome.  An  "  Entombment,"  at 
the  Borghese  Pal.,  is  his  most  celebrated  large  work,  and  another, 
very  similar,  is  in  the  Studj  Gall,  at  Naples.  The  Doria  Gall.,  the 
Acad.  of  Venice,  and  the  English  National  Gall. ,  have  fine  specimens 
of  his  works.  His  pictures  at  Ferrara  were  painted  after  his  return 
from  Rome,  and  show  the  effect  of  his  study  there.  His  color  was 
good,  and  his  pure,  positive  tints  have  not  faded,  and  equal  in  this 
respect  the  works  of  the  early  Venetian  artists.  He  was  blind  nine 
years  before  his  death. 

Garzi,  Ludovico,  born  at  Pistoja  (16387-1721).  A  favorite 
pupil  of  Andrea  Sacchi,  and  a  rival  of  Carlo  Maratti.  He  was  em- 


GARZI  —  GELDEK.  293 

ployed  in  Naples  in  churches  and  palaces,  and  in  Pescia;  his  princi- 
pal works  at  Rome  are  the  cupola  of  the  Capella  Cibo  in  S.  Maria 
del  Popolo,  and  his  celebrated  "  Prophet  Joel,"  in  the  Lateran. 

Gassel,  Lucas.  Flourished  middle  of  16th  century.  His  style  is 
fantastic,  his  color  cool  and  monotonous.  Vienna  Gall.,  a  landscape, 
with  Judah  and  Thamar,  1548. 

Gasser,  Hans  (1817-1868).  This  Austrian  sculptor  was  remark- 
able for  his  portrait  busts,  among  which  are  those  of  Jenny  Lind, 
Marko,  Rahl,  and  Szechenyi.  His  ideal  figures  were  also  worthy  of 
praise.  This  may  be  seen  in  the  new  opera-house  at  Vienna,  the 
Karl  Theatre,  and  the  arsenals  at  Vienna  and  Trieste. 

Gatti,  Bernardino,  called  II  Soiaro  or  Sogliaro,  from  the  occupa- 
tion of  his  father.  There  is  much  doubt  about  the  facts  of  this 
painter's  life,  and  it  is  not  known  whether  he  was  a  pupil  or  an  imi- 
tator of  Correggio.  His  works  were  in  the  manner  of  that  master, 
and  the  most  important  were  executed  at  Parma,  Cremona,  and 
Piacenza.  Died  1575.  Gervasio  Gatti,  his  nephew,  was  also  his 
pupil,  and  called  II  Soiaro.  Bryan  names  five  painters  and  one  en- 
graver of  the  name  of  Gatti. 

Gaulli,  Gio.  Battista,  called  Bacicio,  born  at  Genoa  (1639-1709). 
He  had  great  celerity  of  invention  and  execution,  and  became  dis- 
tinguished as  a  machinist.  One  of  his  most  important  works  is  the 
great  vault  of  the  Gesu,  at  Rome.  He  painted  in  several  Roman 
churches,  and  is  said  to  have  succeeded  in  portraiture,  especially  in 
making  good  likenesses  of  those  who  were  dead.  For  the  latter  he 
was  accustomed  to  draw  an  ideal  face,  which  he  would  change  ac- 
cording to  the  suggestions  of  those  who  had  known  the  subject,  until 
he  made  a  satisfactory  picture. 

Gault  de  St.  Germain,  Pierre  Marie,  born  at  Paris,  1754.  A 
I  HI  inter  of  large  historical  subjects  and  portraits.  He  also  wrote 
several  books  relative  to  painting. 

Gay  wood,  Robert.  Flourished  about  1660.  The  plates  of  this 
eminent  Knglisli  engraver  are  much  esteemed  by  collectors.  He  was 
a  pupil  of  Wenceslaus  Hollar,  and  his  most  interesting  works  are  his 
portraits. 

Geddes,  Andrew,  born  at  Edinburgh  (1789-1844).  He  painted 
landscapes  and  portraits.  He  was  most  successful  in  the  latter, 
although  many  of  his  small  landscapes  are  pretty,  particularly  his 
canal  views,  lie  also  painted  one  large  altar-piece,  and  a  picture 
of  "  Christ  and  the  Woman  of  Samaria."  His  picture  of  the  "  Dis- 
covery of  the  Regalia  of  Scotland  "  includes  a  portrait  of  Walter 
Scott,  and  several  distinguished  men  of  Edinburgh. 

Gelder,  Aart  de,  born  at  Dort  (1645-1727).  Pupil 
of  Rembrandt,  and  a  good  imitator  of  his  style,  though 
not  equal  to  him  in  impasto  and  transparency  of  color. 
Many  of  his  pictures  pass  for  those  of  his  master,  and 


294.  GELDER  —  GERARD. 

his  works  arc  not  numerous  in  public  galleries.     The  Amsterdam 
Mus.  has  a  portrait  of  Peter  the  Great,  and  the  Dresden  Gall,  a 
man's  portrait  and  an  Ecce  Homo,  by  De  Gelder. 
.   Gelee,  Claude.     See  Lorraine. 

Genga,  Girolamo,  born  at  Urbino  (1476-1551).  Pupil  of  Luca 
Signorelli  and  Pietro  Perugino,  and  fellow-pupil  of  Raphael.  Few 
of  his  works  are  known,  as  he  painted  much  in  conjunction  with 
other  masters,  and  was  also  employed  as  an  architect,  rather  than 
painter,  by  the  Duke  of  Urbino. 

Gennari,  Benedetto,  born  at  Cento  (1633-1715).  Nephew  and 
pupil  of  Guercino,  whose  style  he  imitated  so  perfectly,  that  the 
copies  which  he  made  from  the  master's  works  could  scarcely  be 
distinguished  from  the  originals.  He  painted  some  historical  pictures 
for  the  churches  of  Bologna,  Padua,  and  Cento,  and  in  the  reign  of 
Charles  H.  went  to  England  and  was  appointed  painter  to  the 
King,  in  which  office  he  was  confirmed  by  James  II.  His  principal 
works  in  England,  were  portraits.  Cesare  Gennari,  brother  of 
Benedetto,  and  Lorenzo,  probably  of  the  same  family,  were  also 
painters. 

Genoels,  Abraham,  born  at  Antwerp  (1640-1723).  One 
of  the  best  landscape  painters  of  his  country.  In  France, 
he  was  employed  by  Le  Brun,  to  paint  the  backgrounds  to 
his  "  Battles  of  Alexander  the  Great."  His  drawing  is  cor- 
rect, his  touch  spirited,  his  color  clear,  and  his  figures  in  the  antique 
style.  His  works  are  rare.  The  Amsterdam  Gall,  has  one,  and 
there  is  another  in  the  Brunswick  Gall.  He  is  also  distinguished 
for  his  etchings.  Bartsch  enumerates  seventy-three,  and  Weigel 
gives  thirty-one  more.  In  Rome,  he  was  called  Archimedes,  on  ac- 
count of  his  mathematical  knowledge,  and  he  sometimes  signs  his 
etchings  with  that  name. 

Gentileschi,  real  name  Orazio  Lomi,  born  at  Pisa  (1563-1647). 
He  painted  in  several  Roman  palaces  in  conjunction  with  Agostino 
Tassi.  He  also  painted  historical  subjects  at  Turin  and  Genoa. 
He  was  invited  to  England  by  Charles  I.  Several  of  his  pictures 
are  now  at  Marlborough  House.  Vandyck  painted  his  portrait,  which 
was  engraved  by  Vorsterman.  Gentileschi,  Artemisia  (1590-1642), 
was  the  daughter  of  the  above,  and  accompanied  him  to  England, 
where  she  painted  both  portraits  and  other  pictures,  but  she  passed 
most  of  her  life  in  Bologna  and  Naples.  She  was  the  friend  of  Guido, 
and  was  much  admired.  She  excelled  her  father  in  portraits.  In 
the  Florence  Gall.,  there  is  a  "  Judith,"  painted  by  her.  Gentileschi, 
Francesco,  brother  of  the  preceding,  was  also  an  artist,  and  resided 
chiefly  at  Genoa,  where  he  painted  for  several  churches. 

Gerard,  Francois,  born  at  Rome  (1770-1837).  The  best  French 
portrait  painter  of  his  time,  and  distinguished  also  for  his  large  his- 
torical pictures.  His  chef-d' ceuvre  of  this  kind  is  the  "  Entrance  of 


GERARD  —  GHIBERTI.  295 

Henry  IV.  into  Paris,"  at  Versailles.  He  was  a  great  favorite  with 
Napoleon,  and  painted  portraits  of  the  Emperor,  his  wives,  and  the 
King  of  Rome.  He  was  also  principal  painter  to  Louis  XVIH.,  who 
made  him  a  baron. 

Gerard,  Mark,  born  at  Bruges.  Painter,  designer  for  glass-paint- 
ing, and  architect.  He  was  not  an  eminent  artist,  but  some  por- 
traits he  painted  in  England  are  interesting.  Those  of  Queen  Eliza- 
beth, Lord  Burleigh,  and  Lord  Essex  are  at  Burleigh  House. 

Gerard  of  S.  John.  Van  Mander  says  he  was  thus  called  from 
the  monastery  of  S.  John,  at  Haerlem,  where  he  resided.  Two  panels 
attributed  to  him  are  in  the  Belvedere  Gall.,  at  Vienna,  and  three 
pictures  which  form  a  triptych  in  the  Pinakothek  of  Munich,  are  also 
called  his.  These  works  are  far  from  excellent,  and  seem  to  belong 
to  the  16th  century. 

Gerard  of  Ghent  is  one  of  the  painters  said  to  have  executed  the 
celebrated  Grimani  Breviary,  in  the  library  of  S.  Mark,  at  Venice; 
125  of  the  illuminations  are  attributed  to  him.  It  has  been  said  that 
he  was  identical  with  Gerard  Van  der  Meire. 

GeVicault,  Jean  Louis,  born  at  Rouen  (1791-1824).  The  chef- 
d'oeuvre  of  this  artist  is  his  immense  picture  of  the  "  Wreck  of  the 
Medusa,"  in  the  Gall,  of  the  Louvre. 

Gessi,  Francesco,  born  at  Bologna  (1588-1649).  A  pupil  and 
successful  imitator  of  Guido  Reni.  His  early  works  are  the  best,  for 
in  later  years  he  became  a  cold  and  languid  mannerist.  His  pictures 
are  in  several  churches  of  Bologna. 

Gessner,  Solomon,  born  at  Zurich  (1734-1788).  A  poet  and 
artist.  He  was  an  amateur  painter,  until  he  was  thirty  years  old, 
when  he  began  to  study  landscape  painting.  He  is  known  by  his 
etchings,  some  of  which  he  executed  for  his  literary  works,  and 
some  for  separate  publication.  They  are  all  well  finished  and 
pleasing. 

Ghein    or    Gheyn,  James,   the 
Elder,    born    at    Antwerp    (1565- 


tftJcv   B\  U/Tfc      TT^V        1615).      Pupil  of   Henry   Goltzius. 
I  U/T*     /     fj    *  \  ([/ j  +    He  became  a  skilful  engraver,  and 

*  /  4.  his  plates  are  much  esteemed.  Some 

of  them  are  scarce. 

Ghent,  Justus  Van.  This  old  painter  must  have  been  born 
about  1400,  as  he  was  a  pupil  of  Hubert  Van  Eyck.  The  only  re- 
maining work  known  to  be  his,  is  in  the  ch.  of  the  Fraternity  of 
Corpus  Christi,  at  Urbino.  It  represents  "  Christ  giving  the  Chalice 
to  the  kneeling  Apostles,  "and  has  many  points  of  merit.  The  por- 
traits it  contains  are  excellent. 

Ghiberti,  Lorenzo,  born  at  Florence  (1378-1455).  A  goldsmith 
and  sculptor,  he  also  painted  some  pictures  at  Rimini,  whither  he 
fled  from  the  plague  in  1398.  He  is  best  known  by  his  bronze  gates 


296 


GHIBERTI. 


to  the  Baptistery  of  Florence,  which  Michael  Angelo  thought  "  wor- 
thy to  be  the  gates  of  Paradise,"  and  which  have  never  been  sur- 
passed in  some  respects.  There  was  much  controversy  as  to  who 
should  obtain  the  honor  of  making  these  gates,  and  after  Ghiberti  re- 
ceived it,  he  spent  twenty  years  upon  the  first,  and  as  much  more 
time  upon  the  last.  It  is  easy  to  see  in  them  the  marks  of  the  gold- 
smith's minute  and  finished  manner;  but  Ghiberti  introduced  a  new 


feature  in  bas-relief  when  he  attempted  to  represent  distance  in 
background.  In  this  he  of  course  failed,  but  in  beautiful  ornamenta- 
tion, and  perfect  form  and  finish  of  all  minor  parts,  he  has  never 
been  surpassed.  Ghiberti  also  made  three  statues  for  the  eh.  of  Or- 
sanmichele;  two  bas-reliefs  for  the  Cath.  of  Siena,  and  the  Sarcoph- 
agus of  S.  Zenobius,  in  S.  Maria  del  Fiore,  of  Florence.  All  these 
works  still  remain,  but  the  sarcophagus  and  the  gates  arc  the  most 


GHIBEETI  —  GHIRLANDAIO. 


297 


excellent,  and,  indeed,  are  to-day  among  the  finest  works  of  art  in 
Italy.  Ghiberti  had  been  a  student  of  the  antique  as  far  as  was 
possible  for  him,  and  in  his  records  of  art  describes  the  ancient  works 
he  had  seen.  The  earliest  known  work  of  this  master  is  in  the  Uffizi, 
and  is  a  bronze  relief  of  the  "  Sacrifice  of  Isaac."  which  he  made  when 
contending  for  the  commission  for  the  Baptistery  gates. 

Ghirlandaio.  Real  name,  Domenico  di  Tommaso  Curradi  di  Doifo 
Bigordi.  Born  at  Florence  (1449-1494).  It  is  said  that  his  father 
was  a  goldsmith,  who  made  such  exquisite  garlands  for  the  hair  that 
he  was  called  Ghirlandaio  (the  garland-twiner),  which  name  de- 
scended to  his  children.  There  are  certain  characteristics  of  Dome- 
nico's  pictures  which  might  result  from  a  knowledge  of  the  gold- 


ZACHARIAS  WRITING  THE  NAME  OF  JOHN.      BY   DOMENICO  GHIRLANDAiC. 

S.  Maria  Novella,  Florence. 

smith's  art,  such  as  precision  in  drawing,  the  modelling  of  figures, 
and  the  arrangement  of  drapery.  Ghirlandaio  was  a  pupil  of  Alessio 
Baldovinetti,  and  became  a  mosaist  and  celebrated  painter.  There  is 
much  of  interest  in  the  works  of  this  master.  They  plainly  show  the 
advance  from  his  earlier  to  his  best  manner :  he  introduced  in  his 
pictures  the  portraits  of  celebrated  and  important  personages  of  his 
time,  and  was  original  in  many  ways.  His  life  is  a  landmark  in 
the  history  of  Florentine  art.  His  especial  greatness  is  that  of  a 
composer.  He  preferred  large  spaces,  and  worked  in  the  old  system 
<>f  tempera.  His  portrait  figures  were  not  the  actors  in  the  scene 
represented,  but  he  placed  them,  generally,  in  detached  groups. 
Kugler  says  this  gave  a  solemn  effect,  and  compares  them,  in  their 


298  t  GHIRLANDAIO. 

relation  to  the  picture,  to  the  chorus  in  a  Greek  tragedy.  He  laid 
his  scenes  in  the  streets  of  cities  known  to  us,  his  architecture  and 
costumes  were  familiar,  but  he  did  not  run  into  the  fantastic,  and 
his  works  are  never  unpicturesque.  His  study  of  the  antique  is  espe- 
cially apparent  in  his  draperies.  In  the  technicalities  of  fresco-paint- 
ing he  excelled,  and  his  works  were  highly  finished.  His  remaining 
frescoes  are  those  in  the  ch.  and  refectory  of  Ognissanti,  Florence, 
dated  1480 ;  in  the  Palazzo  Vecchio,  and  Palazzo  Pubblico,  Flor- 
ence, 1481-85;  in  the  Sixtine  Chapel,  Rome,  only  the  "  Calling  of 
Peter  and  Andrew  "  remains ;  in  the  Chapel  of  S.  Fina,  at  S.  Gi- 
mignano;  in  the  Sassetti  Chapel,  in  S.  Trinita,  Florence,  and  the 
choir  of  S.  M.  Novella  (1490),  same  city.  His  smaller  works  are  an 
!<  Adoration  of  the  Magi,"  in  the  Uffizi ;  two  pictures  in  the  Acad.  of 
Florence,  in  one  of  which,  an  "  Adoration  of  the  Shepherds,"  an  an- 
tique sarcophagus  serves  as  the  manger;  a  "  Visitation,"  in  the 
Louvre;  six  pictures  in  the  Berlin  Mus.,  and  others  in  the  Dresden, 
Munich,  and  National  galleries ;  while  a  few  more  are  in  other  public 
and  in  some  private  collections.  Ghirlandaio  was  the  master  of  Mi- 
chael Angelo.  Very  little  is  known  of  the  mosaics  which  he  exe- 
cuted, although  he  called  mosaic  work  ' '  painting  for  eternity. ' ' 

Ghirlandaio,  Ridolfo,  born  at  Florence  (1483-1560).  Son  of 
Domenico.  The  works  of  this  master  may  be  classed  in  three  divis- 
ions :  those  of  his  early  time,  his  middle  and  best  works,  and  his 
later  and  more  mechanical  manner.  The  first  are  characterized  by 
thin,  stiff  figures,  hard  enamel,  and  thick  substance  of  color,  which 
may  be  seen  in  an  "  Annunciation,"  in  the  Abbey  of  the  Montoliveto, 
outside  Florence.  His  middle  and  best  manner  was  largely  influ- 
enced by  his  association  with  other  artists,  and  the  study  of  their 
works.  It  has  been  said  that  he  studied  with  Fra  Bartolommeo  and 
was  the  intimate  friend  of  Raphael.  It  is  true  that  the  latter  desired 
Ridolfo  to  go  to  Rome  to  work  with  him  in  1508,  and  about  this 
time  Ridolfo  excelled  all  Florentine  artists  in  oil-painting,  as  his 
father  in  his  day  had  excelled  in  mural  decorations.  To  this  time 
belong  his  "Nativity,"  Berlin  Mus.,  and  another  in  the  Esterhazy 
Coll.,  at  Vienna;  a  female  portrait  in  the  Pitti;  the  Miracle  and  the 
Burial  of  S.  Zanobius,  Uffizi;  and  various  others  in  churches  and 
galleries,  in  some  of  which  he  employed  the  assistance  of  his  pupil 
Michele  di  Ridolfo.  There  was  an  old  precept  among  shopkeepers, 
that  an  artist,  if  he  kept  a  shop,  should  execute  all  orders  brought 
him,  no  matter  how  small.  Domenico  believed  this,  and  his  son  prac- 
tised it.  He  did  much  merely  mechanical  work  from  1515  to  1541  for 
the  public  occasions,  both  of  joy  and  sorrow,  in  which  the  Medici 
were  the  principal  actors.  This  had  a  tendency  to  injure  his  man- 
ner, for  he  hastily  executed  scenes  for  plays,  banners  to  be  carried  in 
processions,  and  gaudy  triumphal  arches.  Then,  too,  he  had  a  good 
fortune,  fifteen  children,  and  was  growing  old,  —  indeed,  he  suffered 


GHIRLANDAIO  —  GIBSON.  299 

so  much  from  gout  that  he  was  wheeled  about  in  a  chair  for  some 
time  before  his  death;  still  he  did  not  resign  his  profession,  but  re- 
mained a  silent  partner,  as  it  were,  in  his  own  business,  and  as  late 
as  1543  undertook  a  series  of  frescoes  for  the  monastery  of  the  An- 
geli,  where  his  brother  Bartolommeo  was  in  orders.  Ridolfo  sur- 
vived most  of  his  contemporaries  except  Michael  Angelo. 

Gliisi.  This  is  the  name  of  a  Mantuan  family  of  engravers. 
Gio.  Battista  Ghisi,  called  Mantuano,  was  the  eldest,  and  flourished 
about  the  middle  of  the  16th  century.  He  was  a  painter,  sculptor, 
architect,  and  engraver,  in  which  latter  profession,  he  is  best 
known.  He  is  said  to  have  been  a  pupil  of  Marc- Antonio  Rai- 
mondi,  but  his  drawing  is  incorrect  and  his  prints  wanting  in  harmony. 

G-m  7« — j  Giorgio  Ghisi,  born  1524,  son  of  the  preceding,  was 
V  M  a  much  more  eminent  engraver,  and  his  works  are 
much  esteemed  by  collectors.  Fine  impressions  of 
his  prints  are  scarce.  /  -  \  Adamo  and  Diana 

Ghisi  were  the  brother  Yf\  /S\  an(*  s*ster  °^  Giorgio, 

and  were  instructed  by  «£  *•  /  J-  *•  him.  Diana  was  the 
best  artist,  and  executed  some  plates  of  great  merit.  They  were  all 
called  Mantuano. 

Ghisolfi,  Gio.,  born  at  Milan  (1623-1683).  He  studied  under 
several  masters,  the  best  of  them  being  Salvator  Rosa.  His  pic- 
tures abound  in  Milan,  Geneva,  Naples,  Rome,  and  are  well  repre- 
sented in  England.  He  painted  some  historical  subjects,  but  is  best 
known  by  dark  pictures  of  ruins,  corridors  in  perspective,  and  court- 
yards paved  with  marbles.  His  works  are  in  the  choicest  collections. 

Ghezzi,  Cavalier"e  Pier  Leone.  Chiefly  known  by  his  etchings 
and  his  caricatures,  which  are  numerous  in  Roman  collections. 

Giamberti.     See  San  Gallo. 

Giambono,  Michele.  An  old  painter  and  mosaist  of  the  middle 
of  the  15th  century.  An  altar-piece  in  the  Acad.  of  Venice,  signed 
by  him,  represents  Christ  with  S.  Bernardino  and  other  saints.  At 
S.  Marco,  in  the  wagon  roof  of  the  Madonna  de'  Mascoli,  there  is  a 
mosaic  with  his  name,  and  at  Padua,  in  the  Coll.  of  Conte  Riva, 
an  exquisitely  finished  "  Virgin  and  Child,"  inscribed  "  Michael  Jo- 
in nines  Bono,  vcnctus  pinxit. "  The  Berlin  Mus.  Catalogue  calls  No. 
1154  a  Giambono.  It  is  the  "  Assumption  of  S.  Magdalen." 

Gibbon,  Griiidling.  A  sculptor  of  the  reign  of  Charles  H. 
Some  of  his  remaining  monumental  works  are  seen  in  the  churches 
of  England,  but  his  wood-carving  is  most  worthy  of  notice.  His 
birds,  flowers,  foliage,  and  imitations  of  lace  are  remarkable  for  fine 
and  elaborate  execution.  Some  of  the  best  of  these  are  at  Hampton 
Court,  Windsor  Castle,  Chatsworth,  S.  Paul's  Cath.,  and  S.  James' 
ch.,  Piccadilly.  He  died  in  1721. 

Gibson,  Richard  (1615-1690),  usually  called  the  Dwarf,  was 
only  three  feet  ten  inches  in  height,  and  was  married  in  the  presence 


300  GIBSON. 

of  Charles  I.,  whose  page  he  was,  to  Anne  Shepherd,  who  was  ex- 
actly his  own  height.  They  had  nine  children,  who  lived  and  were 
of  a  proper  size.  Vandyck  painted  the  portraits  of  this  remarkable 
couple.  The  King  observed  the  talents  of  Gibson,  and  placed  him 
with  Cleyn  for  instruction.  He  made  a  reputation  in  water-color 
painting.  He  painted  a  miniature  of  the  "  Parable  of  the  Lost 
Sheep,"  which  the  King  valued  and  gave  to  his  medallist  Vander- 
doort  for  safe  keeping.  When  Charles  desired  to  have  it,  Vander- 
doort  had  forgotten  where  he  had  put  it,  and  became  so  nervous 
about  it,  that  he  hanged  himself;  after  his  death  it  was  found.  A 
drawing  of  Queen  Henrietta,  by  Gibson,  is  at  Hampton  Court.  He 
was  sent  to  Holland  to  instruct  the  Princess  Mary  in  drawing,  and 
also  was  honored  by  being  the  teacher  of  Queen  Anne. 

Gibson,  John,  born  near  Conway,  North  Wales,  1 790 ;  died  at 
Rome,  1866.  When  nine  years  old,  his  parents  went  to  Liverpool 
with  the  intention  of  emigrating  to  the  United  States,  but  this  plan 
was  abandoned,  and  Gibson  sent  to  school  in  Liverpool.  Before  this 
he  had  been  in  the  habit  of  drawing  whatever  he  saw  that  pleased 
him.  He  now  began  to  study  the  prints  in  the  shop  windows,  and 
sold  his  little  drawings  to  his  fellow-pupils.  He  attracted  the  atten- 
tion of  a  print-seller,  who  lent  him  some  studies  and  casts  from  the 
antique.  At  fourteen  he  was  apprenticed  to  a  cabinet  maker,  but  at 
the  end  of  a  year,  he  persuaded  his  employer  to  change  his  indent- 
ures, and  was  bound  to  a  wood-carver.  He  soon  made  the  ac- 
quaintance of  Messrs.  Francis,  who  had  marble  works,  and  after  much 
trouble  and  negotiation  with  his  master,  he  was  again  apprenticed  to 
the  occupation  which  he  had  determined  to  follow.  In  modelling, 
drawing,  and  working  in  marble,  he  was  truly  happy,  and  made  most 
rapid  improvement.  After  a  few  months  he  fell  under  the  notice  of 
William  Roscoe,  who  became  his  friend  and  patron.  From  this  time 
until  he  was  twenty-seven  years  old,  he  remained  in  Liverpool  and 
executed  many  busts,  bas-reliefs,  etc.  He  had  improved  his  oppor- 
tunities, but  they  were  small,  and  he  greatly  desired  to  travel.  In 
1817  he  went  to  London  with  a  few  letters  of  introduction,  and  ob- 
tained several  commissions.  In  September  of  the  same  year  he  left 
England  for  Rome,  where  he  arrived  in  October.  By  means  of  a 
letter,  he  was  presented  to  Canova,  who  took  him  under  his  protec- 
tion and  introduced  him  into  his  Acad.,  where  he  had  an  opportunity 
to  draw  from  life.  He  had  also  the  advantage  of  associating  with 
artists,  and  listening  to  conversations  on  art,  in  which  the  most 
talented  sculptors,  such  as  Canova  and  Thorwaldsen,  were  engaged. 
In  1819  he  received  his  first  commission  from  the  Duke  of  Devon- 
shire, which  was  for  a  group  of  Mars  and  Cupid.  From  this  time,  he 
advanced  steadily  in  his  profession,  and  was  fully  employed.  He 
lived  twenty-seven  years  in  Rome,  spending  his  summers  principally 
at  Innsbruck.  In  1844  he  went  to  Liverpool  to  superintend  the  plac- 


PORTRAIT  OF  MRS.  CALEB  LORING. 
BY  GILBERT  STUART.    See  p.  557. 


GIBSON.  301 

Ing  of  his  statue  of  Mr.  Huskisson.  He  was  received  there  with 
great  enthusiasm.  He  had  also  executed  a  statue  of  Mr.  Finlay  for 
the  Merchants  Hall  of  Glasgow,  to  which  city  he  was  invited,  to  wit- 
ness its  erection.  The  compliments  here  paid  him  were  more  flatter- 
ing than  those  of  Liverpool,  on  account  of  the  absence  of  all  ties  of 
association  or  residence.  During  this  visit,  he  was  invited  to  Wind- 
sor to  make  a  statue  of  her  Majesty.  This  was  completed  in  Rome. 
The  Queen  was  represented  in  a  classical  costume,  and  the  diadem, 
sandals,  and  borders  of  the  drapery  were  colored.  This  created 
much  controversy;  but  Gibson  always  answered,  "  Whatever  the 
Greeks  did,  was  right."  The  Queen  and  Prince  Albert  were  much 
pleased  with  the  statue.  In  1853  he  received  Miss  Harriet  Hosmer 
as  his  pupil.  She  is  the  only  one  he  ever  professed  to  teach,  and 
they  became  devoted  to  each  other,  not  only  as  teacher  and  pupil, 
but  as  friends.  In  1862  he  modelled  a  sacred  subject,  a  bas-relief  of 
"  Christ  blessing  Little  Children."  In  1851  Gibson  sustained  a 
great  loss  in  the  death  of  his  brother  Ben.  to  whom  he  was  greatly 
attached,  and  who  had  resided  with  him  in  Rome  for  fourteen  years. 
On  the  9th  of  January,  1866,  when  seventy-six  years  of  age,  and  ap- 
parently in  perfect  health,  he  was  seized  with  paralysis,  and  died  on 
the  27th  of  the  same  month.  He  was  buried  in  the  English  cemetery 
at  Rome;  and  as  he  had  been  decorated  with  the  cross  of  the  Legion 
of  Honor,  a  company  of  French  soldiers  joined  the  funeral  procession 
and  fired  a  salute  above  his  grave.  The  inscription  upon  his  monu- 
ment, written  by  Lord  Lytton,  gives  a  concise  and  truthful  account 
of  him  as  an  artist,  and  as  a  man  :  "  His  native  genius  strengthened 
by  careful  study,  he  infused  the  spirit  of  Grecian  art  into  master- 
pieces all  his  own.  His  character  as  a  man  was  in  unison  with  his 
attributes  as  an  artist,  beautiful  in  its  simplicity  and  truthfulness, 
noble  in  its  dignity  and  elevation."  A  monument  was  also  raised  to 
Gibson  in  the  ch.  at  Conway.  He  left  the  models  of  all  his  works, 
and  the  greater  part  of  his  fortune,  to  the  Royal  Acad.  Many  amus- 
ing stories  are  told  of  his  absent-mindedness,  and  he  was  scarcely  fit 
to  go  outside  his  studio  alone.  He  could  never  master  the  ins  and 
outs  of  railroad  travelling,  and  when  started  in  the  right  train  at  the 
right  time,  was  sure  to  get  out  at  the  wrong  place  at  the  wrong  time. 
Miss  Hosmer  said  of  him,  "  He  is  a  god  in  his  studio,  but  God  help 
him  when  he  is  out  of  it."  On  one  of  his  journeys,  having  arrived, 
as  he  supposed,  at  the  right  place,  he  desired  a  porter  to  show  him 
the  way  to  the  Cathedral.  In  his  own  account  he  said,  "  But  the 
scoundrel  would  have  it  that  there  was  no  cathedral  in  the  place,  and 
at  last  had  the  impudence  to  ask  me  if  I  knew  where  I  was.  Then  I 
discovered  that  instead  of  being  in  Chichester,  where  I  had  a  par- 
ticular appointment  with  the  Dean  and  Chapter,  I  was  safe  in  Ports- 
mouth, where  there  was  no  cathedral  at  all."  He  found  his  entire 
happiness  in  art,  and  worked  on,  to  use  his  own  words,  "  happily, 


302  GIBSON  —  GIMIGNANI. 

and  with  ever  new  pleasure,  avoiding  evil,  and,  with  a  calm  soul, 
making  images,  not  for  worship,  but  for  the  love  of  the  beautiful. 
The  beautiful  elevates  us  above  the  crowd  in  this  world;  the  ideal, 
higher,  yes  higher  still,  to  celestial  beauty,  the  fountain  of  all.  Soc- 
rates said  that  outward  beauty  was  the  sign  of  inward ;  in  the  life  of 
a  man,  as  in  an  image,  every  part  should  be  beautiful."  The  tributes 
of  respect  which  were  shown  him,  he  thoroughly  enjoyed;  and  those 
of  which  any  man  might  be  proud,  he  received  with  a  simplicity  of 
self-respect  which  added  a  higher  worth  to  them.  The  following 
are  a  portion  of  his  works  :  — 

Mars  and  Cupid;  Chatsworth. 

Psyche  borne  by  Zephyrs;  Palazzo  Torlonia,  Rome,  and  S. 
Petersburgh. 

Hylas  surprised  by  Nymphs;  National  Gall. 

Sleeping  Shepherd  Boy;  Mr.  Lennox,  New  York. 

Cupid  disguised  as  a  Shepherd;  often  repeated;  Mr.  Appleton, 
Boston. 

Narcissus;  Royal  Acad. 

Portraits  of  the  Queen ;  Buckingham  Pal.  and  Osborne. 

Sir  Robert  Peel;  Westminster  Abbey. 

George  Stephenson  ;  S.  George's  Hall,  Liverpool. 

Eighteen  portrait-busts,  among  which  are  those  of  Mrs.  Jameson 
and  Sir  Charles  L.  Eastlake. 

Sixteen  bassi-relievi,  mostly  of  mythological  subjects,  and  sixteen 
monumental  relievi;  a  large  part  of  the  last  are  in  Liverpool  Ceme- 
tery Chapel. 

Gillray,  James,  born  at  Lanark  (1757-1815).  This  celebrated 
caricaturist  began  life  as  a  goldsmith,  then  ran  away  with  a  strolling 
company  of  players,  and  at  last  went  through  a  course  of  study  at  the 
Royal  Acad.  His  first  caricatures  were  done  about  1779,  and  he 
worked  diligently  in  this  department  of  art  until  1811.  He  left  more 
than  1200  of  these  prints.  He  seized  upon  every  circumstance  of 
politics  and  manners  which  could  be  turned  to  ridicule,  and  in  this 
art  has  had  no  rival.  His  intemperate  habits  undermined  his  health, 
and  induced  an  insanity  several  years  previous  to  his  death.  There 
are  a  few  engravings  of  Gillray's  of  subjects  not  caricatured,  of  which 
the  impressions  are  rare. 

Gilpin,  Sawrey,  born  at  Carlisle  (1733-1807).  An  animal  and 
landscape  painter,  who  painted  whole  pictures  by  himself,  but  was 
also  accustomed  to  work  in  conjunction  with  Barret,  who  painted  the 
landscapes  for  Gilpin' s  animals,  which  the  latter  repaid  by  painting 
animals  in  the  pictures  of  Barret. 

Gimignani,  Giacinto,  born  at  Pistoja  (1611-1680).  A  disciple 
of  Pietro  da  Cortona.  He  assisted  Carlo  Maratti,  at  the  Lateran, 
in  Rome.  A  picture  of  his  in  the  Ducal  Gall.,  at  Florence,  has 
been  attributed  to  Guercino.  His  works  are  also  at  the  Palazzo  Nic- 


GIMIGNANI  —  GIORDANO.  303 

colini,  Florence ;  in  S.  Giovanni  at  Pistoja,  and  in  other  churches  of 
Italy. 

Giordano,  Luca,  born  at  Naples  (1632-1705).  Pupil  of  Ribera, 
called  II  Spagnoletto.  He  went  to  Rome  while  still  young,  and  was 
employed  by  Pietro  da  Cortona.  His  facility  of  execution  was  mar- 
vellous. He  made  copies  from  various  masters,  and  his  style  became  a 
mixture  of  all.  This  was  greatly  to  his  disadvantage.  His  father,  who 
had  always  been  very  poor,  followed  him  to  Rome,  urged  him  to  haste 
for  the  sake  of  money,  and  was  accustomed  to  repeat  to  him  "Luca, 
fa  presto,"  by  which  appellation  he  is  known.  In  1690  he  was  in- 
vited to  Spain,  where  he  executed  a  vast  amount  of  work  for  Charles 
H.,  in  the  Escorial  and  elsewhere.  He  returned  to  Naples  with 
much  wealth  and  a  great  reputation.  His  works  are  very  numerous, 
and  varied  in  style.  They  are  in  all  large  galleries.  Perhaps  his 
masterpiece  is  the  "  Expulsion  of  the  Fallen  Angels,"  in  the  Belve- 
dere, Vienna,  signed  Jordanus,  F.  1666.  Giordano  painted  equally 
well  in  oil  and  fresco,  and  is  at  times  remarkable  for  beauty,  glow  of 
color,  and  dramatic  effect,  but  sacrificed  so  much  to  hasty  finish  that 
it  is  painful  to  see  what  he  has  done  and  feel  how  much  less  it  is  than 
what  he  might  have  done.  He  also  left  some  very  spirited  etchings, 
executed  with  free  and  masterly  touch. 

ENGRAVINGS   AFTER   LUCA   GIORDANO. 

Engraver,  AVELINE,  Peter.     The  Death  of  Seneca. 

Engraver,  BEAUVARLET,  James  Firmin.  Lot  and  his  Daughters. 
Susanna  and  the  Elders.  Perseus  combating  Phineus.  Acis  and 
Galatea.  Judgment  of  Paris.  Rape  of  Europa.  Rape  of  the  Sa- 
bines. 

Engraver,  DENNEL,  Louis.     Triumph  of  Galatea. 

Engraver,  EARLOM,  Richard.     Galatea.    Judgment  of  Paris. 

Engraver,  EREDI,  Benedetto.     Death  of  Lucretia. 

From  his  own  designs,  engraved  ly  himself. 

Elijah  calling  down  Fire  on  the  Priests  of  Baal. 

Virgin  and  Child. 

SS.  Joseph  and  John. 

Penitent  Magdalene. 

The  Woman  taken  in  Adultery. 

Christ  in  the  Temple  with  the  Doctors. 

S.  Anne  received  into  Heaven  by  the  Virgin. 

Engraver,  MANNL  or  MAENNL,  Jacob.  Martyrdom  of  S.  Bartholo- 
mew. Philosopher  meditating  on  a  Skull.  A  Geometrician. 

Engraver,  RAVENET,  Simon  Francis.  Sophonisba  receiving  the 
Nuptial  Present. 

Engraver,  SOUNIQUE,  Dominick.     The  Rape  of  the  Sabines. 

Engraver,  VASSEUR,  John  Charles  Le.     Apollo  and  Daphne. 


304  GIORDANO  —  GIORGIONE. 

Engraver,  WAGNER,   Joseph.      Meeting  of  Jacob  and   RacheL 
Rebecca  receiving  the  presents  from  Eliezer. 

Engraver,  ZUCCHI,  Lorenzo.     David  with  the  Head  of  Goliath. 

Giorgione,  real  name  Giorgio  Barbarelli,  born  at  Castelfranco 
(1477-1511).  The  first  Venetian  who  cast  off  the  Bellinesque  rule 
and  handled  brush  and  colors  freely.  Grimm  says,  "  His  outlines 
disappear  into  something  almost  unessential.  As  when  living  beings 
approach  us,  we  only  see  colors  and  movement,  so  in  his  pictures;, 
there  is  none  of  the  fixed,  statue-like  appearance;  the  living,  moving 
character  alone  seems  produced  by  magic."  This  artist  had  great 
personal  beauty,  and  a  dignified  deportment.  Giorgione  means 
George  the  Great,  and  he  acquired  this  name  on  account  of  his  tall, 
noble  figure.  He  had  also  an  intense  love  of  beauty;  he  was  a  good 
lute  player,  and  composed  songs  which  he  sung;  in  short,  his  nature 
was  full  of  harmony  and  sentiment.  This  shows  itself  plainly  in  his 
works,  and  Mrs.  Jameson  says,  "  If  Raphael  be  the  Shakespeare,  then 
Giorgione  may  be  styled  the  Byron  of  painting."  Very  little  is  known 
of  his  life.  The  Venetian  traditions  give  the  following:  He  was 
fond  of  pleasure,  but  never  profligate,  and  his  love  of  his  art  would 
not  allow  him  long  to  neglect  it.  Pietro  Luzzo,  a  painter  known  as 
Morto  da  Feltri,  lived  in  the  same  house  with  Giorgione,  where  was 
also  a  girl  whom  he  passionately  loved.  He  made  Morto  his  confi- 
dant, of  which  he  took  advantage  to  seduce  and  carry  off  the  girl. 
Giorgione  never  recovered  from  the  double  grief  caused  by  the  faith- 
lessness of  his  mistress  and  his  friend,  and  sank  into  a  despondent 
state  of  mind,  in  which  he  died.  Morto  fled  from  Venice,  entered 
the  army,  and  was  killed  at  the  battle  of  Zara,  1519.  Giorgione  was 
much  employed  in  decorative  painting,  and  worked  with  Titian  on 
the  Fondacho  dei  Tedeschi,  at  Venice.  He  had  great  influence  upon 
Titian.  If  any  of  the  frescoes  of  Giorgione  remain  in  Venice,  they 
are  but  parts  of  pictures.  The  dampness  of  the  climate,  fires,  and 
the  effect  of  time  have  effaced  them.  His  pictures  are  rare,  and  it 
is  difficult  to  give  a  list  of  them,  for  there  have  been  so  many  differ- 
ences of  opinion  among  the  best  judges,  concerning  the  genuineness 
of  those  assigned  to  him,  that  few  remain  upon  which  no  doubt  has 
been  thrown.  He  painted  but  few  historical  subjects.  Among  the 
works  acknowledged  as  his,  the  first  place  should  be  given  to  an 
altar-piece  in  the  ch.  at  Castelfranco.  It  represents  the  Virgin  and 
Child  between  SS.  Francis  and  Liberate.  A  study  in  oil  for  the 
figure  of  S.  Liberale  is  in  the  National  Gall.  This  altar-piece  was 
executed  before  1504.  In  the  Belvedere  Gall,  at  Vienna,  there  is  a 
picture  called  the  "  Chaldean  Sages,"  in  which  a  company  of  as- 
tronomers study  the  heavens.  In  the  Manfrini  Pal.,  Venice,  is  the 
so-called  "  Family  of  Giorgione."  Be  the  subject  what  it  may,  it  is 
an  exquisite  picture  in  which  the  painter  succeeded  in  throwing  great 
interest  into  a  simple  and  natural  arrangement  of  common  objects. 


GIORGIONE.  305 

At  Kingston-Lacy,  there  is  an  unfinished  picture  of  the  * '  Judgment 
of  Solomon."  "  The  Concert,"  at  the  Pitti  Pal.,  is  one  of  his  most 
beautiful  and  famous  works.  There  are  many  portraits,  sibyls,  and 
other  pictures  in  various  galleries,  attributed  to  Giorgione,  but  the 


THE  CONCERT.      BY  GIORGIOHE 

Pitti  Gall. 

above  are  almost,  if  not  quite  all,  which  are  universally  acknowledged 
to  be  genuine,  although  it  may  be  quite  true  that  others  are  so. 
Among  those  very  generally  admired,  as  the  works  of  this  master, 
are  the  portrait  of  a  lady  with  a  lute,  Manfrini  Pal.;  his  own  portrait, 
Munich  Gall.;  the  "  Daughter  of  Herodias,"  the  portrait  of  Gaston  de 
Foix,  and  a  "  Holy  Family,"  in  the  Louvre;  "  Jacob  meeting  Rachel,'* 
Dresden;  the  "Finding  of  Moses,"  Brera,  Milan;  the  Sea-storm, 
with  the  patron  saints  of  Venice  in  a  boat,  demons  and  monsters  all 
about,  and  a  city  in  the  distance,  Acad.  of  Venice;  etc.,  etc. 

ENGRAVINGS    AFTER    GIORGIONE. 

Engraver,  DUPUIS,  Nicholas  Gabriel.    Amusement  of  Pastoral  Life. 

Engraver,  KESSEL,  Theodore.     A  Riposo.     Magdalen  at  the  feet 
of  Christ. 

Engraver,  MANNL  or  MAENNL,  Jacob.     A  Warrior  giving  his 
Hand  to  a  Man. 

Engraver,  PETHER,  William.     A  Warrior;  half  length. 
20 


306  GIOTTINO  —  GIOTTO. 

Giottino.  Vasari  calls  the  name  of  this  painter  Tommaso  di 
Stefano  called  Giottino,  and  says  he  was  born  in  1324.  The  only 
work  remaining  of  those  assigned  to  him  is  the  chapel  of  S.  Sil- 
vestro  in  Santa  Croce  in  Florence,  in  which  is  a  series  of  pictures 
illustrating  the  legend  of  S.  Sylvester.  These  are  well  composed,  the 
drawing  is  firm,  the  movement  animated,  the  heads  individual,  and 
the  color  warm  and  clear.  There  are  other  pictures  at  Assisi  and 
in  Florence,  in  the  same  manner  as  these,  but  not  known  to  be  by 
the  same  master. 

Giotto  di  Bordone,  born  at  Vespignano  (1276-1336).  It  is  a 
custom  to  call  Cimabue  the  father  of  modern  painting,  and  it  is  true 
in  the  sense  that  he  discovered  the  genius  of  Giotto  and  placed  him 
where  it  could  benefit  the  world.  Cimabue' s  pictures  are  in  the 
Byzantine  manner,  but  Giotto  drew  his  inspiration  from  nature,  and 
seems  almost  an  opposite  to  Cimabue  rather  than  a  follower  of  his. 
When  tending  his  flock,  Giotto  was  accustomed  to  draw  on  the  large, 
flat  stones,  and  while  thus  employed,  Cimabue  came  upon  him,  was 
filled  with  admiration  of  his  work,  and  obtained  the  consent  of  his 
father  to  his  taking  him  to  be  his  pupil.  Giotto  became  a  painter, 
sculptor,  and  architect.  His  principal  works  were  his  fresco  paint- 
ings, which  were  in  most  of  the  large  cities  of  Italy.  The  Bell- 
tower  of  Santa  Maria  del  Fiore  is  his  most  famous  architectural 
monument.  He  did  not  live  to  see  it  finished,  but  he  left  a  perfect 
model  for  it,  which  was  largely,  though  not  entirely  followed  in  its 
construction;  for  before  it  was  completed  the  Gothic  pyramidal  spire 
which  he  had  used  was  no  longer  admired,  and  had,  in  fact,  come  to 
be  regarded  with  contempt.  But  the  main  construction,  the  stories, 
the  windows,  the  sculptured  ornaments  are  his  plan,  and  "form  a 
matchless  whole."  Giotto  was  the  friend  of  Dante,  and  it  is  most 
reasonable  to  believe  that  much  of  what  appears  original  in  the  con- 
ception and  treatment  of  his  subjects  was  derived  from  his  intercourse 
with  the  great  poet,  and  the  ideas  he  received  from  him.  Dante's 
portrait,  which  he  painted  on  the  wall  of  the  palace  of  the  Podesta  at 
Florence,  and  which  has  been  restored  to  the  world,  is  one  of  his 
most  famous  works,  and  in  spite  of  its  destruction  and  restoration  it 
is  full  of  wondrous  power.  Of  his  small  pictures  there  are  twenty  in 
the  Florentine  Acad.,  two  in  Berlin,  and  four  others  in  private  col- 
lections, which  originally  formed  a  series  of  twenty-six,  illustrative 
of  the  lives  of  Christ  and  S.  Francis  in  reference  to  each  other;  or 
representing  circumstances  in  the  two  lives  which  seem  to  have  a  cer- 
tain likeness  in  them.  Par  exemple,  opposite  to  the  "  Incredulity  of 
S.  Thomas,"  in  the  Life  of  Christ,  he  places  a  picture  of  S.  Francis 
on  a  bier,  while  a  pious  disciple  examines  the  marks  of  the  Stigmata. 
A  divided  altar-piece  is  in  the  Brera  of  Milan  and  the  Gall,  of  Bo- 
logna. Some  pictures  on  wood  are  in  the  Sacristy  of  S.  Peter's  at 
Rome,  and  in  the  vestibule  of  that  basilica  is  his  mosaic,  called  the 


GIOTTO. 


307 


uNavicella."  This  has  been  changed  from  its  original  place,  and 
has  been  often  injured  and  restored,  until  it  is  probable  that  no  part 
of  the  original  work  remains,  but  the  design  is  that  of  Giotto.  His 
large  frescoes  were  in  series.  Those  in  the  Carmine  at  Florence  were 
destroyed  by  fire  in  1771,  but  there  are  engravings  of  them.  In  the 
ch.  of  Santa  Croce,  a  "  Coronation  of  the  Virgin,"  and  the  "  Last 
Supper,"  in  the  refectory,  still  remain.  In  Padua,  in  the  chapel  of 
the  Madonna  dell'  Arena,  he  painted  the  Life  of  the  Virgin  in  forty- 
two  different  pictures.  In  the  lower  ch.  at  Assisi,  he  represented 
scenes  from  the  Life  of  S.  Francis.  In  the  Incoronata  at  Naples  he 
painted  the  "Seven  Sacraments,"  which  are  very  well  preserved. 
His  sculptures  and  reliefs,  both  upon  the  bell-tower,  and  in  the 
facade  of  the  Duomo,  were  also  arranged  in  cycles.  In  order  to  form 


\ 


FIGURE  OF   JOHN    ABOUT    TO    THROW    HIMSELF    ON  THE    BODY     OF     CHRIST. 

l.V    (ilOTTO. 

From  the  painting  in  S.  Maria  dell'  Arena,  Padua. 

a  correct  judgment  of  the  works  of  Giotto,  one  must  always  keep  in 
mind  the  time  in  which  he  lived,  and  the  opportunities  he  had  for 
study.  Then  it  will  be  felt  that  he  was  eminent  in  his  composi- 
tion, design,  and  color,  and  that  he  uavr  a  wonderful  impetus  to  art 
in  various  directions.  Some  of  his  followers  devoted  themselves  to 
form,  some  to  color,  some  to  relief,  and  thus  each  branch  progressed, 
until  in  Raphael  the  different  parts  were  again  united  in  a  compar- 
atively perfect  manner.  The  works  of  Giotto  were  so  numerous  that 
it  would  be  impossible  in  such  an  account  as  this  to  even  mention 
all  of  them,  but  it  should  not  be  forgotten  that  one  of  his  most 
original  conceptions  was  that  of  the  crucifix.  Before  him  there  had 
been  two  representations.  In  one  Christ  was  erect  and  alive  on  the 
cross,  held  by  the  nails.  In  the  other  every  effort  was  made  to  de- 
pict simple  physical  agony,  the  effect  being  that  of  vulgar  realism 
only.  Giotto  made  more  perfect  anatomical  proportions,  and  gave  up 


308  GIOTTO  —  GIRARDON. 

the  dreadful  contortions  while  he  still  indicated  pain ;  he  gave  the 
expression  of  suffering  to  the  head,  and  to  the  face  tenderness,  abne- 
gation, and  heavenly  resignation.  In  truth  it  would  be  a  difficult 
task  to  paint  a  better  type  of  crucifix  than  that  of  this  master.  Two 
of  his  crucifixes  are  in  S.  Marco,  and  in  the  Gondi  Dini  chapel,  in 
Ognissanti,  at  Florence;  another  at  S.  Felicita  is  also  ascribed  to 
him,  but  with  less  certainty.  At  the  time  of  his  death,  Giotto  had 
been  architect  and  master  of  S.  Maria  del  Fiore  two  years.  He  was 
buried  there,  and  afterwards  a  monument  was  erected  to  him  upon 
which  his  portrait  was  carved  by  Benedetto  da  Maiano.  There  is 
much  of  interest  in  the  life  of  Giotto,  and  it  is  to  be  regretted  that 
no  more  is  known  of  it.  He  lived  in  stormy  times,  when  Guelf  and 
Ghibelline  hated  and  persecuted  each  other,  times  in  which  Dante 
made  enemies;  but  Giotto,  though  free  from  mental  slavery,  inde- 
pendent, and  judging  for  himself,  seems  to  have  been  so  poised 
towards  all  humanity  as  to  have  impressed  himself  upon  his  sur- 
roundings, rather  than  to  have  stirred  up  any  bitterness.  His  con- 
temporaries acquiesced  in  his  success  and  fame,  and  his  successors 
have  enlarged  it.  Giotto  was  personally  so  ugly  that  his  friends  all 
joked  about  it,  but  he  was  charming  in  conversation,  witty,  and 
withal  modest.  He  would  not  accept  even  the  title  of  "  Magister," 
although  in  his  day  such  honors  were  much  coveted.  There  are 
various  jokes  and  witticisms  attributed  to  him,  such  as  the  following. 
The  king  of  Naples  asked  him  to  paint  his  kingdom,  and  he  drew  a 
saddled  ass  smelling  at  another  pack-saddle  at  his  feet.  When  the 
king  asked  him  to  explain,  he  said,  "  Simply  that  the  ass,  your 
kingdom,  not  satisfied  with  one  royal  saddle,  is  always  snuffing 
around  for  another."  There  has  been  a  story  oft  repeated,  that  in 
order  to  paint  his  crucifixes  so  well,  he  persuaded  a  man  to  be 
bound  to  a  cross  for  an  hour  for  him  to  study,  and  that  when  he  had 
him  there  he  stabbed  him,  and  thus  succeeded  in  making  his  fine 
representation  of  the  subject.  His  picture  pleased  the  Pope  so  well, 
that  he  would  have  it  for  his  own  chapel,  but  when  Giotto  told  him 
all  the  truth,  and  showed  him  the  dead  man,  the  Pope  threatened 
him  with  death.  Then  Giotto  brushed  the  picture  over  so  that  it 
seemed  to  be  erased,  which  the  Pope  so  regretted  that  he  promised 
forgiveness  if  it  were  done  again.  Giotto  exacted  the  promise  in 
writing,  and  then  removed  the  wash  with  a  wet  sponge,  and  the 
crucifix  was  as  perfect  as  before,  and,  according  to  tradition,  is  that 
from  which  all  -famous  crucifixes  were  afterwards  drawn.  Giotto 
had  a  wife  and  eight  children,  of  whom  nothing  is  known  but  that 
Francesco  became  a  painter. 

Girardon,  Francois,  born  at  Troyes  (1630-1715).  A  reputable 
sculptor  who  was  assisted  in  his  studies  by  Chancellor  Seguier. 
Louis  XIV.  gave  him  a  pension  while  he  studied  in  Rome,  and  many 
commissions  after  his  return.  He  was  finally  advanced  in  office 


GIRARDON  -  GLOVER.  309 

until  he  became  director  and  chancellor  in  the  Acad.  A  portion  of 
his  works  were  destroyed  by  the  revolutionists,  but  many  still  exist 
in  France. 

Girodet,  Anne  Louis  (1767-1824).  He  adopted  the  name  of 
Trioson  in  1812.  The  favorite  pupil  of  David.  The  only  excellence 
he  possessed  was  that  of  drawing  the  figure  correctly.  For  this  rea- 
son, his  drawings  are  better  than  his  paintings.  His  principal  works 
are  in  the  Louvre. 

Girtin,  Thomas  (1775-1802).  Pupil  of  Dayes.  A  good  water- 
colorist.  His  manner  of  treatment  is  simple  and  pleasing.  He  made 
sketches  of  twenty  views  in  Paris,  and  etched  the  outlines  of  the 
plates,  which  were  finished  by  other  artists. 

Glass,  James  W.,  born  at  Cadiz.  His  mother  was  an  American, 
and  he  commenced  his  studies  as  an  artist  in  the  studio  of  Hunting- 
ton,  in  New  York.  He  chose  to  paint  horses  and  such  subjects  as 
required  them.  He  was  very  successful  and  gained  a  good  reputa- 
tion in  London,  where  he  lived  for  some  time.  It  has  been  said  that 
his  picture  of  the  Duke  of  Wellington  was  the  best  portrait  ever 
made  of  him.  It  was  sold  to  Lord  Ellesmere.  His  pictures  are  all 
well  esteemed,  but  they  are  not  numerous,  for  he  did  not  live  to  fulfil 
the  promise  of  excellence  lie  hud  ^iven.  He  died  in  New  York  in 
1856.  "  The  Battle  of  Naseby,"  "  Safe,"  "  Royal  Standard," 
"  Puritan  and  Cavalier,"  and  "  Edge  Hill,"  are  some  of  the  subjects 
he  painted. 

Glauber,  Jan,  born  at  Utrecht  (1646-1726).  Pupil  of  Berghem. 
He  studied  in  Italy,  and  became  an  imitator  of  Poussiu.  He  settled 
in  Amsterdam,  and  was  the  friend  of  (Jeranl  Lairesse,  who  often 
painted  figures  in  the  landscapes  of  Glauber.  His  compositions  are 
poetical,  and  his  drawing  excellent.  His  color  is  also  admirable. 
His  pictures  are  seen  in  the  Louvre,  Dresden,  Berlin,  and  Munich 
galleries.  He  also  executed  a  number  of  etchings  from  his  own  de- 
signs and  those  of  other  artists. 

Glaucus,  an  artist  of  Chios,  who  worked  in  bronze,  and  is  dis- 
tinguished as  the  inventor  of  the  art  of  soldering  metals.     Eusebius 
says  he  lived  about  69  B.  c. 
V-fc       J        Sj'   ^y        Glockenton,  Albert,  born  at  Nuremberg 

A\  CO  ./\_  vD  :i')(lllt  '  l;{~*  The  plates  of  this  engraver  are 
stilt  and  neat,  and  executed  with  the  graver 
alone.  The  following  are  his  :  — 

Twelve  plates  of  the  Passion  of  Christ;  after  Martin  Schoen;  fine 
and  scarce. 

Ten  plates  of  the  Wise  and  Foolish  Virgins ;  after  the  same. 

Christ  bearing  his  Cross  ;  after  the  same  ;  scarce. 

Death  of  the  Virgin ;  after  the  same. 

The  Virgin  and  Child  seated  on  an  Altar. 

Glover,  John  (1767-1849).      An  English  landscape  painter.    His 


310  GLOVER  —  GOMEZ. 

pictures  are  highly  finished,  and  become  tedious  if  large,  but  his 
small  works  are  pleasing,  especially  those  cool  in  color.  His  rocky 
scenery  is  pretty,  and  his  views  well  selected. 

Glycon.  The  Athenian  who  executed  the  "  Farnese  Hercules  " 
in  the  Mus.  at  Naples.  It  represents  Hercules  resting  on  his  club 
after  one  of  his  labors.  The  right  hand  is  modern.  It  is  believed  to 
be  a  copy  of  the  "  Heracles  "  of  Lysippus,  of  which  there  are  several 
imitations,  but  none  so  fine  as  this.  It  was  found  in  the  Baths  of 
Caracalla. 

Gobbo,  Pietro  Paolo  Bonzi,  called  II  (1580-1640).  The  hunch- 
back of  Cortona,  and  known  as  II  Gobbo  da'  Frutti  on  account  of  his 
pictures  of  fruit,  in  which  he  excelled.  His  works  are  in  the  finest 
collections.  He  ornamented  several  Roman  palaces  in  fresco. 

Goebouw  or  Gobau,  Anthony,  born  at  Antwerp  (1625-1677). 
His  best  pictures  are  merry-makings,  and  subjects  like  those  of  Te- 
niers.  He  also  painted  landscapes,  sea-ports,  and  battle-fields  after 
the  conflict;  the  latter  with  such  truth  as  to  reach  the  horrible.  His 
pictures  are  much  admired  in  his  own  country. 

Goes,  Hugo  Van  der,  born  at  Bruges  (1405  7-1480  ?)  It  is  said 
that  he  was  a  scholar  of  Jan  Van  Eyck,  and  a  distinguished  painter. 
Many  of  his  works  perished  by  the  hands  of  the  Dutch  and  Flemish 
Iconoclasts.  About  fifty  pictures  are  now  attributed  to  him,  but 
there  is  little  certainty  about  many  of  them.  A  large  altar-piece  in 
the  choir  of  S.  Maria  Nuova,  at  Florence,  is  undoubtedly  his  work, 
and  a  portrait  of  his  is  in  the  Pitti  Pal.  The  Munich  Gall,  has  a 
"  S.  John  in  the  Wilderness,"  signed  H.  V.  D.  Goes,  1472.  It  is 
delicately  finished.  There  are  no  others  that  can  be  positively  given 
to  him.  He  retired,  late  in  life,  to  the  convent  of  Rooden,  near 
Brussels,  where  he  died. 

Goltzius,  Heinrich  (1558-1617).  A  distinguished  en- 
graver.  He  left  a  great  many  plates  —  more  than  500. 
Those  which  imitated  Albert  Diirer  and  Lucas  Van 
Leyden  are  the  most  successful.  His  own  portrait  is  a  master- 
piece of  engraving.  He  visited  Italy  and  became  enamored  of  the 
works  of  Michael  Angelo,  and  in  his  attempts  to  imitate  him,  he 
made  some  very  distorted  pictures.  Late  in  life  he  commenced  to 
paint,  but  his  works  were  few  and  much  inferior  to  his  plates.  His 
u  Circumcision,"  in  the  manner  of  Diirer,  and  his  "  Adoration  of  the 
Kings,"  in  that  of  Lucas  Van  Leyden,  are  very  celebrated  engravings, 
and  indeed,  all  his  plates  are  much  esteemed  by  intelligent  collectors. 
Some  of  his  paintings  are  in  the  Imperial  Gall,  at  Vienna. 

Gomez,  Sebastian,  was  the  mulatto  slave  of  Murillo,  and  prac- 
tised painting  secretly,  until  at  length  he  so  perfected  himself,  that 
he  ventured  one  day,  to  paint  the  head  of  a  Virgin  which  his  master 
had  sketched  and  left  on  his  easel.  Murillo  promoted  Gomez,  and 
was  happy  in  the  thought  that  he  had  made  him  a  painter.  His 


GOMEZ  — GOYA.  311 

pictures  were  full  of  faults,  but  his  color  was  much  like  that  of  his 
master.  In  the  Mus.  of  Seville,  there  are  two  pictures  by  Gomez, 
representing  SS.  Anne  and  Joseph,  and  the  Virgin  appearing  to  S. 
Dominic.  He  died  soon  after  his  master,  in  1682. 

Gondolach,  Matthaus.  This  painter  settled  in  Augsburg,  and 
died  in  1653.  He  married  the  widow  of  Joseph  Heinz,  and  suc- 
ceeded that  artist  in  the  favor  of  Rudolph  II.  He  painted  small  pic- 
tures on  copper  in  the  manner  of  Heinz,  some  of  which  are  in  the 
Gall,  of  Vienna. 

Good,  T.  S.  Painted  very  pretty  small  interiors  with  figures,  and 
other  similar  subjects. 

Gool,  John  Van,  born  at  the  Hague  (1685-1763).  He  painted 
landscapes  and  animals  indifferently  well,  and  was  a  writer  on  art. 

Gortzius,  Gualdorp,  called  Geldorp,  born  at  Louvain  (1553- 
1618?)  Pupil  of  Frans  Franck,  the  Elder,  and  Frans  Pourbus,  the 
Elder.  He  settled  in  Cologne,  and  a  few  of  his  works  are  preserved 
there.  His  portraits  are  better  than  his  historical  pictures. 

Gossaert.     See  Mabuse. 

Goudt,  Henry,  Count  de,  born  at  Utrecht,  1585.  This  amateur 
engraver  was  a  Count  of  the  Palatinate,  and  the  benefactor  of  Adam 
Elsheimer.  He  bought  some  of  the  works  of  the  latter,  and  engraved 
them  in  a  manner  quite  his  own.  They  are  powerful  in  effect,  cor- 
rect in  drawing,  and  some  of  them  are  very  beautiful.  Some  of  his 
prints  are  scarce. 

Goujou,  Jean.  French  sculptor.  He  was  much  employed  in  the 
time  of  Francis  I.  He  was  also  an  architect  and  medal  engraver. 
He  made  a  medal  for  Catherine  de'  Medici  which  is  curious  and  rare. 
He  perished  in  the  massacre  of  S.  Bartholomew,  being  shot  while  on 
a  scaffold  carving  a  rilievo  at  the  Louvre.  Many  of  his  works  are 
preserved  in  different  parts  of  France.  In  the  Musee  des  Monuments 
Francais,  there  are  some  bas-reliefs,  which  are  good  specimens  of  his 
style. 

Goya  y  Lucientes,  Francisco,  born  at  Fuente  de  Todos,  1 746 ; 
died  at  Bordeaux,  1828.  Studied  some  years  in  Rome  and  returned 
to  Madrid,  where  he  attracted  the  attention  of  Mengs.  He  became 
a  favorite  in  fashionable  society,  and  lived  in  good  style  at  a  fine  villa 
near  Madrid.  Charles  IV.  appointed  him  painter  in  ordinary,  in 
1789.  He  painted  pictures  of  religious  subjects,  and  portraits;  and 
found  continual  employment  among  the  nobility.  But  his  chief  ex- 
cellence was  that  of  a  satirist  with  the  pencil.  He  may  be  called  the 
Hogarth  of  Spain.  He  parodied  the  religious  pictures,  and  painted 
priests  in  the  form  of  asses  or  apes,  and  was  never  weary  of  making 
the  Jeronymite  and  Franciscan  friars  ridiculous.  He  painted  with 
dashing  boldness,  and  as  often  used  a  sponge  or  stick  as  the  brush. 
I  Ir  sometimes  executed  an  entire  piece  with  his  palette-l^nife,  and 
put  in  the  delicate  touches  of  sentiment  with  his  thumb.  He  was 


312  GOYA  -  GKAFF. 

skilful  in  the  use  of  the  graver,  and  published  eighty  prints  which 
he  called  Caprickos.  These  attained  great  celebrity.  They  were 
satirical  representations  of  the  Spanish  customs  of  law,  physic,  the 
pulpit,  the  cloister,  etc.  He  was  also  the  author  of  a  series  of 
sketches  of  the  French  Invasion,  in  which  he  represented  in  the  most 
exaggerated  manner  the  hanging  of  citizens,  the  shooting  of  prisoners, 
and  sacking  of  convents.  Besides  these,  he  published  thirty-three 
prints  of  scenes  in  the  Bull-Ring;  and  etchings  of  some  of  the  works 
of  Velasquez.  In  the  Gall,  of  the  Queen  of  Spain  are  the  portraits 
of  Charles  IV.  and  his  Queen,  by  Goya.  The  National  Mus.  has  a 
picture  of  two  dark-eyed  Spanish  ladies,  with  fans  and  mantillas  ; 
and  the  Louvre  a  full  length  portrait  of  the  Duchess  of  Alba. 

Goyen,  Jan  Van,  born  at  Leyden  (1596-1656).  The  works  of 
this  landscape  painter  are  not  of  great  merit,  but  he  is  worthy  of 
notice  as  having  introduced  a  new  manner  of  treating  nature  among 
the  artists  of  his  country,  which  was  afterwards  very  generally 
adopted.  His  characteristics  were  truthfulness  and  a  light  and  easy 
pencilling. 

Gozzoli,  Benozzo.  Real  name  Benozzo  di  Lese  di  Sandro.  A 
pupil  and  assistant  of  Fra  Angelico  (1424-1496  ?).  Remarkable  for 
the  great  amount  of  work  he  did,  and  the  number  of  his  pictures  re- 
maining, rather  than  for  wonderful  talents.  He  had  an  influence 
upon  Urnbrian  art  which  adds  to  his  importance.  His  industry  was 
marvellous,  and  he  excelled  in  a  sort  of  aptitude  which  enabled  him  to 
seize  and  apply  different  ideas  and  elements  collected  from  the  works 
of  various  masters.  He  also  possessed  a  somewhat  extravagant  fancy. 
He  painted  for  churches  in  various  cities  of  Italy,  and  many  of  his 
works  remain,  but  the  most  important  are  those  in  the  Campo  Santo 
at  Pisa.  These  were  twenty-four  in  number,  and  are  in  good  preser- 
vation, with  the  exception  of  two  or  three.  He  was  occupied  sixteen 
years  in  this  work.  The  Pisans  presented  him  with  a  tomb  directly 
under  these  pictures,  where  his  own  works  were  an  appropriate  mon- 
ument. He  seems  to  have  had  an  overpowering  sense  of  beauty.  He 
was  the  first  to  represent  backgrounds  rich  with  cities,  rivers,  trees, 
bold  rocks,  and  cultivated  fields.  He  introduced  all  kinds  of  animals 
wherever  he  had  room.  If  his  scene  is  interior  or  architectural,  it  is 
of  the  richest  kind,  and  his  color  added  to  the  richness,  as  did  also  the 
gilding  and  embroidery  which  often  exceeded  good  taste.  His 
smaller  works  are  rare.  In  the  Louvre  is  a  picture  of  S.  Thomas 
Aquinas;  it  is  the  most  valuable  of  his  panel  paintings.  The  Acad. 
of  Pisa  has  two  of  his  works,  and  the  National  Gall,  two,  an  en- 
throned «  Virgin  and  Child,"  and  the  "  Rape  of  Helen."  It  was  a 
custom  with  this  artist  to  introduce  the  portraits  of  his  friends  into 
his  pictures,  and  some  of  them  are  excellent. 

Graff,«A.nton  (1 736-1803).  He  resided  at  Augsburg  and  Dresden, 
and  was  one  of  the  best  portrait  painters  of  his  time.  He  had  an  ap- 


GRAFF  —  GRAMMATICA. 


313 


pointment  at  court  in  Dresden,  and  also  worked  in  Berlin  and  Leip- 
sic.  He  painted  many  notable  persons.  Some  of  his  pictures  are 
in  the  Dresden  Gall. 

Graat  or  Grait,  Barent  or  Bernard,  born  at  Amsterdam  (1628- 
1709).  He  painted  landscapes  and  garden  scenes  with  family  groups. 
His  pictures  are  pleasing  and  well-finished.  He  also  painted  a  few 
historical  pieces. 


Grammatica,  Antiveduto  (1570-1626).  A  distinguished  por- 
trait painter.  He  was  honored  by  being  elected  president  of  the 
Acad.  of  S.  Luke,  but  was  afterwards  accused  of  substituting  a  copy 
he  had  made  after  Raphael  for  the  original  work,  which  he  attempted 
to  sell.  He  was  removed  from  his  chair  by  sanction  of  the  Pope,  and 
did  not  long  survive  the  disgrace.  His  copy  is  now  in  the  ch.  of  S. 
Luca,  and  the  original  is  in  the  Acad. 


314  GRANACCI  —  GREBBEE. 

Granacci,  Francesco,  born  at  Florence  (1469-1543).  A  fellow- 
pupil  with  Michael  Angelo  in  the  atelier  of  the  Ghirlandai.  His 
fondness  for  Michael  Angelo  was  great  and  endured  for  many  years. 
In  1489  Lorenzo  de'  Medici  desired  to  have  some  pupils  trained  for 
sculptors,  and  consulted  Domenico  Ghirlandaio  upon  the  subject. 
Granacci  and  Michael  Angelo  were  selected  by  the  latter  as  his  best 
pupils,  and  placed  under  instruction.  Granacci  soon  proved  himself 
better  fitted  for  a  draughtsman,  and  was  constantly  employed  by 
Lorenzo  in  the  festivities  with  which  he  was  accustomed  to  amuse 
the  Florentines.  He  was  a  good-tempered,  congenial  man,  and 
always  ready  to  acknowledge  and  admire  superiority  in  others.  He 
was  associated  with  the  best  masters  of  his  age.  For  many  years  his 
style  showed  his  devotion  to  Michael  Angelo,  and  an  attempt  to  imi- 
tate him;  later  he  studied  and  imitated  Raphael,  and  sometimes  seems 
also  to  have  Fra  Bartolommeo  for  his  model.  In  1508,  when  Michael 
Angelo  sent  to  Florence  for  artists  to  assist  him  in  the  Sixtine  chapel, 
Granacci  was  prominent  among  those  who  went  to  Rome.  But  the 
experiment  failed,  and  when  the  great  master  was  convinced  that  he 
could  not  employ  assistants,  he  locked  the  doors  of  the  chapel  and 
his  house  against  them,  and  they  returned  to  Florence.  This  was 
severe  treatment  for  an  old  friend  like  Granacci,  and  from  that  time 
he  ceased  to  show  in  his  works  his  allegiance  to  Michael  Angelo. 
His  remaining  pictures  are  seen  in  the  various  Florentine  collections, 
at  Berlin,  Munich,  and  in  a  few  English  galleries. 

Grandi,  Ercole,  called  Ercole  da  Ferrara,  born  at  Ferrara  (1491- 
1531).  Pupil  of  Lorenzo  Costa,  and  an  unimportant  painter. 

Grandi,  Ercole  Robert!.  According  to  Crowe  and  Cavalcaselle, 
this  Grandi  was  a  pupil  of  Mantegna,  and  the  painter  of  the  Gar- 
ganelli  frescoes  at  Bologna,  which  Vasari  says  were  much  praised  by 
Michael  Angelo.  There  are  works  attributed  to  him  in  the  Dresden 
Gall.,  the  Liverpool  Institution,  and  the  Gall,  of  Modena. 

Granet,  Francois  Maurice,  born  at  Aix  (1775-1849).  A  fine 
architectural  painter.  He  lived  much  at  Rome.  He  was  a  member 
of  the  Institute.  This  is  the  highest  honor  for  men  of  culture  in 
France,  and  but  fourteen  painters  are  admitted  in  the  division  of  the 
Beaux  Arts.  His  interiors  are  remarkable  for  their  effects  of  light 
and  shade.  He  left  his  large  fortune  to  found  an  Art  Mus.  in  his 
native  town.  One  of  his  pictures  is  in  the  Royal  Coll.  of  England, 
and  cost  £800  sterling.  The  "  Interior  of  the  ch.  of  S.  Francis,  at 
Assisi,"  is  a  fine  specimen  of  his  style,  and  is  in  the  Louvre. 

Graziani,  Ercole,  born  at  Bologna  (1688-1 7G5).  A  reputable 
artist,  whose  assiduity  was  such  that  the  number  of  his  works  was 
simply  prodigious.  Many  of  them  remain  in  the  churches  and  public 
edifices  of  Bologna  and  Piacenza. 

Grebber,  Pieter  de,  born  at  Haerlcm  (1590-1656?).  Pupil  of 
Henry  Goltzius.  He  -~as  older  than  Rembrandt,  but  he  adopted  his 


GREBBEE  —  GREENOUGH.  315 

style.  His  works  are  in  the  collections  of  Holland,  especially  at 
Haerlem.  He  left  several  engravings.  An  etching  of  "  Christ  and 
the  Woman  of  Samaria  "  is  very  spirited. 

Greff,  Jerome.  An  engraver  of  Frankfort  who  flour- 
ished about  1520.  He  copied  the  wood-cuts  of  Albert 
Diirer,  and  his  set  after  those  of  that  artist  of  the 
"  Apocalypse  of  S.  John,"  are  very  finely  executed, 
and  the  same  size  of  the  originals.  He  was  also  called  Jerome  von 
Franckfort. 

Green,  Valentine,  born  in  Warwickshire  (1739-1813).  An 
eminent  mezzotint  engraver.  In  his  line  he  has  rarely  been  equalled. 
The  number  of  his  works  is  large,  nearly  400.  They  embrace  sub- 
jects of  almost  every  kind. 

Greenough,  Horatio,  born  in  Boston,  U.  S.  A.  (1805-1852). 
His  taste  for  the  life  of  a  sculptor  was  apparent  while  he  was  still 
a  mere  child.  He  had  a  fine,  intellect,  and  entered  Harvard  Univer- 
sity at  sixteen.  During  his  college  life  he  was  constantly  in  familiar 
intercourse  with  Washington  Allston.  He  went  to  Italy  just  before 
the  end  of  his  collegiate  course.  Before  this  he  had  made  the  plan 
for  the  exterior  of  Bunker  Hill  Monument  which  was  accepted.  He 
rose  rapidly  to  his  place  among  sculptors.  He  was  the  first  Ameri- 
can who  executed  a  group  in  marble.  This  was  done  for  our  nov- 
elist, Cooper,  and  was  exhibited  in  America.  It  was  called  the 
"  Chanting  Cherubs,"  and  was,  no  doubt,  the  means  of  his  receiv- 
ing the  commission  for  the  statue  of  Washington  for  the  Capitol  ; 
his  group  called  "  The  Rescue  "  is  also  at  the  Capitol,  and  is  intended 
to  illustrate  the  struggle  between  the  Anglo-Saxon  races  and  the 
Aborigines.  His  fdeal  subjects  were  very  beautiful,  and  speak  more 
fully  of  the  quality  of  the  mind  which  conceived  them  than  words 
could  possibly  do.  His  "  Medora,"  illustrating  Byron's  description 
of  the  Corsair's  bride,  is  one  of  his  most  charming  works.  He  had 
a  favorite  greyhound,  and  a  representation  of  it  was  for  years  in 
the  library  of  Edward  Everett,  who  was  his  faithful  friend  and 
admirer.  He  lived  many  years  at  Florence.  In  1851  he  returned 
to  America.  Enthusiastic  for  art,  a  consistent  republican  politically, 
a  cultured  scholar  and  writer,  a  large-hearted  man  and  friend,  he 
anticipated  a  happy  life  here.  But  his  health  soon  failed.  It  was 
then  that  he  wrote,  "  I  am  arrived  at  that  mezzo  del  cammin,  that 
half-way  house,  where  a  man  sees,  or  thinks  he  sees,  both  ways.  If 
my  head  is  not  white,  it  is  whitening.  I  begin  to  love  to  sit  alone  — 
to  look  upon  the  skies,  the  water,  and  the  soft  green  —  the  face  of 
the  mighty  mother  !  I  feel  that  she  thus  sweetly  smiles  on  me,  more 
sweetly  than  formerly,  because  she  means  to  call  me  home  to  her 
own  bosom.  I  would  not  pass  away  and  not  leave  a  sign  that  I,  for 
one,  born  by  the  grace  of  God  in  this  land,  found  life  a  cheerful 
thing,  and  not  that  sad  and  dreadful  task  with  whose  prospect  they 


316  GREENOUGH  —  GRIMOTJ. 

scared  my  youth."  His  last  summer  was  spent  at  Newport,  in  de- 
lightful social  intercourse  with  his  family  and  friends,  and  there  he 
died,  December  18,  1852. 

Greuze,  Jean-Baptiste,  born  at  Tournus,  near  Macon  (1725- 
1805).  Pupil  of  Gromdon.  A  portrait  and  genre  painter.  He 
especially  excelled  in  painting  beautiful  women  and  lovely  children. 
His  works  now  command  enormous  prices.  A  "  Young  Mother  and 
her  Children  "  at  Buckingham  Pal.  is  a  fine  work  of  his,  and  the 
Louvre  has  several  of  his  most  noted  pictures.  In  some  respects  he 
was  a  very  able  artist,  but  he  was  also  mannered  ;  and  his  most 
beautiful  female  heads  are  affected  and  sometimes  extravagant.  His 
most  pleasing  subjects  are  his  single  heads  of  young  girls  and  chil- 
dren. His  color  is  very  agreeable,  and  while  he  never  painted  thinly, 
but  with  considerable  impasto,  his  works  are  sometimes  as  delicately 
finished  as  if  done  on  ivory.  He  painted  some  male  portraits  which 
possess  considerable  merit. 

Grien  or  Grim.     See  Baldung. 

Griffier,  Jean,  born  at  Amsterdam  (1656-1720?).  Pupil  of 
Roland  Rogman,  and  it  is  believed  also  of  Philip  Wouvermans.  He 
was,  however,  an  imitator  of  Hermann  Saftleven.  His  works  are 
attractive,  picturesque  in  design,  tender  in  execution,  and  delicate  in. 
finish.  They  may  be  seen  in  the  Amsterdam  Mus.,  the  Dresden 
Gall.,  and  Berlin  Mus.  His  son,  Robert  Griffier,  was  born  in  Lon- 
don, where  his  father  resided  for  some  years  (1688-1750).  His 
pictures  are  chiefly  Rhine  views,  and  are  much  esteemed  in  Holland. 

Grimaldi,  Gio.  Francesco,  called  II  Bolognese,  born  at  Bologna 
(1606-1680).  A  disciple  of  the  Carracci.  His  landscapes  are  grand 
and  imposing,  and  sometimes  very  finely  colored;  but  they  are  not 
equal  in  excellence,  nor  uniform  in  style,  for  some  of  his  works  are 
more  like  Poussin  than  like  the  Carracci;  and  his  figures  are  some- 
times classical,  and  again  in  the  homely  style  of  the  Dutch  painters. 
He  was  of  a  generous  disposition,  and  the  following  story  is  told  of 
him.  A  Sicilian  nobleman,  who  had  been  exiled  from  his  country, 
lived  with  his  daughter,  in  great  poverty,  directly  opposite  to  Gri- 
maldi in  Rome.  He  pitied  them  and  desired  to  assist  them  without 
mortifying  their  pride.  He  went  therefore  after  dark  and  knocked 
at  their  door,  and  when  it  was  opened  threw  in  a  well  filled  purse, 
and  ran  away.  This  he  repeated  until  the  nobleman  caught  him  in 
the  act,  and  overwhelmed  him  with  thanks.  Grimaldi  then  took 
the  exiles  to  his  own  house  and  cared  for  them  many  years.  A 
series  of  Grimaldi's  works  is  in  the  Borghese  Gall.,  at  Rome,  and  a 
good  picture  by  him  is  in  the  Berlin  Mus.  Grimaldi  was  an  en- 
graver, and  left  some  good  etchings,  and  also  many  pen  drawings, 
some  of  which  Bartolozzi  has  engraved. 

Grixnou,  Grimoux,  or  Grim  on  d,  Alexis,  born  in  the  Swiss  canton 
of  Friburg  (1680-17403.  He  is  said  to  have  instructed  himself  by 


GKIMOU  —  GUARDI.  317 

making  copies  after  Vandyck  and  Rembrandt.  His  own  portrait  and 
several  other  pictures  of  his  are  in  the  Louvre.  He  excelled  in  por- 
traits, and  his  best  pictures  are  half-lengths  of  ladies  in  picturesque 
costumes.  He  received  much  honor  in  Paris  and  became  very  proud 
of  himself.  His  habits  of  life  were  dissolute,  and  it  is  said  that  as  he 
was  returning  one  night  from  a  drunken  frolic,  he  heard  a  sudden 
roaring  noise  and  screamed  out,  "  Je  suis  Grimoux,"  as  if  his  great 
name  could  avert  all  danger. 

Gros,  Pierre  le,  born  at  Paris  (1656-1719).  This  eminent  sculp- 
tor was  first  instructed  by  his  father,  and  gained  the  grand  prize  at 
the  Acad.  when  but  twenty  years  old.  He  then  went  to  Rome  where 
he  soon  became  so  distinguished  as  to  receive  important  commissions 
for  S.  Peter's  and  other  churches.  With  the  exception  of  two  years 
spent  in  Paris,  Le  Gros  resided  at  Rome  for  life.  His  statue  of  "  Si- 
lence," executed  for  the  gardens  of  the  Tuileries,  was  much  admired; 
he  also  executed  works  for  the  Hotel  Crozat.  He  was  constantly 
employed  at  Rome  until  his  death. 

Gros,  Antoine  Jean,  born  at  Paris  (1771-1835).  A  painter  of 
historical  subjects.  He  had  great  power,  but  was  coarse  in  exe- 
cution and  design.  His  picture  of  "  Napoleon  visiting  the  Sick  at 
Jaffa,"  is  disgusting.  Some  of  his  works  were  more  delicate,  and  some 
of  his  portrait  figures  were  fine.  He  was  also  a  successful  decorator, 
and  was  made  a  baron  by  Charles  X.,  as  a  reward  for  his  painting 
of  the  cupola  of  S.  Genevieve.  He  was  so  overcome  by  the  criticisms 
of  his  works  exhibited  in  1835  that  he  drowned  himself  in  the  Seine. 

Griinewald,  Matthew.  Nothing  is  known  of  this  artist,  except 
that  he  lived  at  Aschaifenburg,  and  was  much  employed  by  Arch- 
bishop Albrecht  of  Mayence.  He  died  about  1530.  As  a  painter  he 
ranks  next  to  Diirer  and  Holbein  among  the  Germans  of  his  time. 
The  only  work  positively  known  to  be  his  is  an  altar-piece,  having 
six  panels,  now  in  the  Munich  Gall.  The  figures  are  colossal, 
masterly  in  drawing,  dignified,  and  individual.  His  color  is  harmo- 
nious and  pleasing.  There  are  various  other  works  existing  of  which 
parts  were  executed  by  this  master.  One  is  an  altar-piece  in  the 
ch.  of  Our  Lady,  at  Halle;  another  is  a  Rosary  picture  in  the  Cath. 
of  Bamberg;  and  in  the  Coll.  of  the  Prince  Consort  at  Kensington 
there  is  an  altar-piece  with  the  Virgin  and  Child  in  Glory,  adored 
by  SS.  Catherine  and  Barbara. 

Gryeff  or  Griff,  Anthony.  Flourished  about  the  middle  of  the  1 7th 
century.  Painter  of  landscapes  with  dead  game,  dogs,  etc.  Many  of 
his  pictures  are  small,  and  his  works  are  unequal  in  excellence,  some 
being  very  good  and  others  quite  inferior. 

Guardi,  Francesco,  born  at  Venice  (1712-1793).  Pupil  of  Ca- 
naletto.  He  painted  the  same  class  of  subjects  as  his  master,  and  the 
works  of  the  two  are  sometimes  confounded;  but  those  of  Guardi 
are  more  sketchy  than  Canaletto's.  They  are  spirited  and  life-like, 


315  GUARDI  —  GUERCINO. 

have  countless  figures,  gondolas,  etc.,  all  of  which  show  a  certain 
raggedness  of  execution,  while  his  sharp  touches  of  light  and  bright 
colors  give  spirit  and  sparkling  effect.  Many  of  his  skies  are  too 
sombre  to  be  agreeable. 

Guercino.  So  called  from  having  a  squint;  real  name  Gio.  Fran- 
cesco Barbieri.  Born  at  Cento,  near  Bologna  (1590-1666).  He 
may  be  said  to  have  been  largely  self-taught.  He  was  faithful  to 
nature,  and  his  works  are  life-like  and  brilliant  in  color,  but  some- 
times very  heavy  in  the  shadows  of  the  flesh.  His  earlier  works  have 
a  power  which  he  afterwards  lost,  and  his  later  style  is  effeminate 
and  shallow.  In  the  Villa  Ludovisi  at  Rome,  there  is  an  "  Aurora  " 
by  him;  in  the  Spada  Pal.,  a  picture  of  the  "  Last  Moments  of 
Dido;  "  and  in  the  Capitol  the  famous  "  S.  Petronilla,"  in  which  the 
Saint  is  being  raised  from  her  tomb  to  be  shown  to  Flaccus,  her  be- 
trothed. In  Bologna  Gall.,  a  "  S.  William  of  Aquitaine,"  and  the 
"  Virgin  appearing  to  S.  Bruno,"  are  remarkable;  his  works  are 
seen  in  almost  all  large  European  galleries.  A  small  "  Dead  Christ," 
in  the  National  Gall. ,  is  a  specimen  of  his  better  style.  His  works 
are  very  numerous,  are  much  esteemed,  and  command  good  prices. 
He  also  left  an  immense  number  of  drawings,  many  of  which  were 
engraved  by  Bartolozzi.  He  painted  250  large  pictures  besides  his 
frescoes  and  numerous  smaller  works,  many  of  which  are  in  private 
collections. 

ENGRAVINGS    AFTER   GUERCINO. 

Engraver,  BLOEMAERT,  Cornelius.  S.  Peter  raising  Tabitha  from 
the  Dead;  best  plate  of  this  master. 

Engraver,  CARMONA,  Emanuel  Salvador.  Angels  appearing  to 
Magdalene. 

Engraver,  CUNEGO,  Domenico.  The  Prodigal  Son.  Rinaldo  and 
Armida. 

Engraver,  DORIGNY,  Sir  Nicholas.     S.  Petronilla. 

Engraver,  DUNKARTON,  Robert.  Christ  at  Emmaus.  Four  sub- 
jects from  the  Life  of  Joseph. 

Engraver,  EARLOM,  Richard.     Holy  Family.     Virgin  and  Child. 

Engraver,  FALCK,  Jeremiah.     Concert  of  Music. 

Engraver,  TREY,  James.     Death  of  S.  Petronilla. 

From  his  own  Designs. 

S.  Anthony  of  Padua;  half  length.    Joan  Fr.  Cent. 
S.  John;  same  mark. 
S.  Peter;  Joan  F.  Barbieri,/. 
S.  Jerome  with  a  Crucifix;  same  mark. 
Bust  of  a  Man  with  a  Cap  and  Beard 
Bust  of  a  Woman. 
Bust  of  a  Man  in  Oriental  Dress. 


8.    PETRONILLA.      BY   GUERCINO. 

la  the  Capitol,  Rome. 


GUERCINO  —  HAANSBERGEN.  321 

Engraver,  LORENZINI,  Fra  Antonio.  David  with  the  Head  of 
Goliath.  Christ  at  Emmaus.  S.  Peter  delivered  from  Prison. 

Engraver,  OTTAVIANI,  Gio.  S.  Jerome  with  a  Crucifix.  S.  Ce- 
cilia. Angelica  and  Medora.  Mars  and  Venus.  Three  Women 
bathing,  surprised  by  a  Young  Man.  Diana  and  Actaeon. 

Engraver,  PASQUILINI  or  PASCALINI,  Gio.  Battista.  Christ  dictat- 
ing the  Gospel  to  S.  John.  Resurrection  of  Lazarus.  Christ  giving 
the  Keys  to  S.  Peter.  Christ  taken  in  the  Garden.  Angels  showing 
the  Instruments  of  the  Passion  to  the  Magdalene.  Christ  at  Em- 
maus. Incredulity  of  S.  Thomas.  The  Virgin  and  Child,  with  an 
Angel  presenting  Fruit.  Virgin  and  Child,  with  S.  John  present- 
ing an  Apple.  S.  Charles  Borromeus.  S.  Felix  restoring  a  Dead 
Child  to  Life.  Tancred  and  Erminia.  Tithonus  and  Aurora. 

Engraver,  PESNE,  Jean.     A  set  of  Landscapes;  fine. 

Engraver,  PITAU,  Nicholas.  The  Virgin  holding  the  Child,  and 
Reading.  The  Dead  Christ,  with  Angels  weeping. 

Engraver,  POOL,  Matthew.     Cupid  taken  in  a  Net  by  Time. 

Engraver,  Pozzr,  Francesco.     The  Aurora;  F.Pozzi.     1780. 

Engraver,  RAVEN  ET,  Simon  Francis.     Return  of  the  Prodigal. 

Engraver,  Rossi,  Girolamo.  Two  Cupids  playing.  Another 
Cupid. 

Guerin,  Pierre  Narcisse,  born  at  Paris  (1774-1833).  A  painter 
whose  style  is  a  literal  representation  of  Greek  sculpture  in  color. 
His  works  are  devoid  of  life  or  motion.  "  -3Sneas  telling  Dido  of  the 
fate  of  Troy,"  in  the  Louvre,  is  a  fine  specimen  of  his  pictures.  He 
was  distinguished  by  Napoleon  I.  and  Louis  XVHL,  and  made  a 
baron  by  Charles  X. 

Guido.     See  Reni. 

Guillain,  Simon  (1581-1658).  This  sculptor  executed  the 
statue  of  Louis  XIV.  as  a  boy  of  ten,  now  in  the  Louvre,  and  those 
of  his  parents,  also  there.  Originally  they  decorated  the  Pont  au 
Change.  Other  works  by  Guillain  are  in  the  same  Mus. 

Gyssens  or  Ghysells,  Peter.  There  is  some  uncertainty  as  to  the 
name  and  personality  of  this  painter.  Some  of  his  works  are  mis- 
taken for  those  of  Jan  Breughel.  It  is  not  improbable  that  two 
painters  of  this  name  existed,  and  the  younger  was  a  pupil  of  Breu- 
ghel. His  subjects  are  dead  game,  dogs,  etc.,  and  often  represented 
on  terraces.  They  are  highly  finished  and  bear  the  closest  examina- 
tion. There  are  fairs  and  views  on  the  Rhine  attributed  to  the  elder 
Ghysells,  which  have  numerous  figures,  and  are  better  painted  than 
the  pictures  of  Breughel. 

H. 

Haansbergen,    Jan    Van,    born    at    Utrecht    (1642-1705).     A 
painter  whose  works  are  rarely  seen  out  of  Holland.     He  painted 
21 


322  HAANSBERGEN  —  HALLER. 

portraits  principally;  his  other  works  were  small  cabinet  pictures  in 
the  style  of  Poelemburg. 

Haarlem,  Cornells  Van.     See  Cornelisser. 

Haarlem,  Deerick  Van.     See  Stuerbout. 

Hackaert,  Jan,  born  at  Amsterdam  about  1636.  The  landscapes 
of  this  artist  are  very  highly  esteemed.  He  excelled  in  his  effect  of 
sunshine,  and  the  representation  of  it  shining  through  trees  was  his 
forte.  He  failed  in  figures,  and  other  artists  supplied  them  for  him. 
His  mountain  views  are  attractive,  but  his  Dutch  views  are  the  best. 
His  works  are  in  the  Berlin,  Dresden,  Munich,  and  Amsterdam  gal- 
leries, and  a  few  good  specimens  are  in  England.  He  also  left  six 
etchings,  which  are  much  inferior  to  his  paintings  in  execution  and 
excellence. 

Hackert,  Jacob  Philip,  born  at  Prenzlow  (1737-1807).  This  ar- 
tist resided  many  years  at  the  court  of  Naples  under  most  fortunate 
circumstances.  He  painted  many  beautiful  views  of  Italian  scenery, 
which  are  well  considered.  He  used  both  oil  and  water  colors.  His 
finish  is  extreme  and  careful,  almost  as  if  his  pictures  were  on  ivory. 
His  outlines  are  very  sharp  and  precise,  and  his  colors  brilliant.  His 
foregrounds  have  many  small  objects  finished  with  great  labor. 
These  detract  from  the  force  of  his  work.  He  left  a  great  number 
of  drawings  in  bistre  and  sepia. 

Hagen,  Jan  Van  der,  born  at  the  Hague  (1635-1679).  The 
landscapes  by  this  artist  have  suffered  from  deterioration  of  color, 
caused  by  his  use  of  "  Haarlem  blue,"  which  was  in  vogue  in  his 
day.  They  are  well  composed.  He  frequently  represented  a  river 
in  which  the  houses  and  trees  on  the  bank  were  reflected,  and  men 
and  animals  gave  animation  to  the  scene.  In  the  new  Town  Hall  of 
Amsterdam,  there  is  one  of  his  best  works,  and  another  is  in  the 
Mus.  of  the  same  city.  Nos.  188  and  189  in  the  Louvre  are  also 
his. 

Hainzelmann,  Elias,  born  at  Augsburg  (1640-1693).  An  en- 
graver who  studied  with  Francis  Poilly  and  followed  his  manner. 
His  portraits  are  his  best  plates,  and  have  much  merit. 

Haldenwang,  Christian,  born  at  Durlach  (1779-1831).  An  emi- 
nent landscape  engraver. 

Haller,  John,  born  at  Innsbruck  (1792-1826).  After  limited 
study  he  entered  the  Royal  Acad.  at  Munich,  where  he  soon 
attracted  the  attention  of  the  Crown  Prince  Louis  to  his  skill  in 
modelling.  In  1817  he  received  the  commission  for  the  colossal 
statues  in  the  niches  on  the  front  of  the  Glyptothek.  He  executed 
also  a  "  Child  on  a  Dolphin  "  in  sandstone,  and  the  caryatides  for 
the  Royal  box  in  the  Royal  Court  and  National  Theatre.  He  then 
received  the  commission  for  the  statuary  for  the  gable  end  of  the 
Glyptothek.  This  was  to  be  done  in  Rome.  He  went  there  and 
first  finished  two  of  the  figures  for  the  front,  made  several  busts  and 


HALLER  —  HAMILTON.  323 

a  small  model  for  the  gable  end,  but  his  health  compelled  him  to  re- 
turn home.  The  theatre  had  been  burned,  and  he  again  made  the 
caryatides,  several  busts  of  notable  men,  and  three  of  the  figures  for 
the  gable,  when  his  health  entirely  failed,  and  he  died  in  his  thirty- 
fifth  year.  He  was  a  sculptor  of  great  promise,  and  the  works  which 
he  executed  do  him  much  honor. 

Hals,  Frans,  born  at  Mechlin  (1584-1666).  Very  little  is  known 
of  the  life  of  this  artist,  except  that  it  was  a  merry  one,  and  that  he 
was  fond  of  drinking  and  good  living.  It  is  said  that  Carl  van 
Mander,  the  Elder,  was  his  master.  His  pictures  are  very  unequal. 
He  is  really  of  great  importance  in  the  Dutch  school,  for  he  was  the 
first  to  introduce  the  free,  bold  treatment  which  later  artists  more 
fully  developed.  His  facility  of  execution  was  wonderful.  He  was 
much  accustomed  to  paint  laughing  or  grinning  faces.  These  are 
pleasing  in  his  fancy  subjects,  but  quite  the  contrary  in  portraits. 
His  mode  of  life  often  exhausted  his  means,  and  he  painted  hurriedly 
to  replenish  his  purse.  He  painted  large  pictures  of  archers  and  civic 
guards.  The  best  of  these  may  be  seen  at  Haerlem,  in  the  Hotel  de 
Ville;  and  are  spirited,  energetic,  warm  in  color,  and  happy  in  in- 
dividualism. In  an  apartment  of  the  u  Oude  Man  Huys,"  a  be- 
nevolent institution,  there  are  two  other  fine  works  of  this  class. 
The  Munich  Gall,  has  an  excellent  specimen  of  his  family  groups. 
His  single  portraits  are  rare  (life-size),  and  his  small,  genre  like 
works  still  more  so.  The  Berlin  Mus.  has  two  small  portraits.  For 
anecdote  of  Hals,  see  Vandyck. 

Hamilton,  Philip  Ferdinand  Von,  born  at  Brussels  (1664-1750). 
A  descendant  of  James  Hamilton,  who,  in  Cromwell's  time,  went 
from  Scotland  to  Germany.  Philip  Ferdinand  was  the  best  painter 
of  the  many  artists  of  this  name.  His  subjects  were  those  of  the 
chase.  His  pictures  may  be  best  observed  in  the  Vienna  Gall. 
There  is  one  also  in  the  Gall,  of  Munich.  Johann  Georg  Von 
Hamilton,  born  at  Brussels  (1666-1740).  Brother  of  the  preceding. 
A  painter  of  animals  of  no  great  excellence.  His  pictures  are  also  at 
Munich  and  Vienna. 

Hamilton,  Gavin,  died  1797.  Of  Scotch  descent,  he  resided 
many  years  in  Italy,  and  is  more  noticeable  for  his  collections  of  an- 
tiquities and  his  interest  in  the  progress  of  art,  than  as  a  painter. 
He  was  a  finished  scholar.  His  subjects  were  classical,  and  by  good 
attention  to  costume  and  proprieties  of  detail,  he  attained  a  respecta- 
ble place  among  the  artists  of  his  day.  He  published  a  very  interest- 
ing work,  with  the  purpose  of  showing  the  advancement  of  art,  from 
the  days  of  Da  Vinci  to  those  of  the  Carracci,  with  the  title  of  the 
"  Schola  Italica  Picturae." 

Hamilton,  William,  born  in  London,  of  Scotch  parentage  (1751- 
1801).  He  resided  some  years  in  Rome.  After  his  return  to  Eng- 
land, he  was  engaged  largely  in  the  illustration  of  books.  Hii 
colored  drawings  were  very  fine. 


324  HANNEMAN  —  HEAD. 

Hanneman,  Adrian,  born  at  the  Hague  (1611-1680).  He  went 
to  England  during  the  reign  of  Charles  I. ,  and  became  an  imitator 
of  Vandyck.  There  is  a  portrait  of  Charles  in  the  Vienna  Gall., 
painted  by  Hanneman. 

Harding,  Chester  (1792-1866).  Born  in  New  England;  his  family 
removed  to  Pennsylvania  while  he  was  still  a  boy.  He  commenced 
his  artistic  career  as  a  sign  painter,  but  rose  to  the  profession  of  por- 
trait painting  with  wonderful  rapidity.  He  went  to  England,  where 
he  received  much  kindness  from  Leslie  and  Lawrence,  and  painted 
the  portraits  of  several  men  of  note.  His  portrait  of  Daniel  Web- 
ster is  much  esteemed,  as  well  as  other  works  of  his.  His  life  was 
full  of  adventure,  and  he  wrote  a  sketch  of  it  for  his  children  under 
the  title  of  "My  Egotistography. "  It  has  been  printed  but  not 
published. 

Harlow,  George  Henry,  born  in  London  (1787-1819).  A  good 
portrait  painter.  Pupil  of  Lawrence.  He  painted  some  historical 
subjects  of  which  the  most  celebrated  is  the  "  Trial  of  Queen  Cath- 
erine," the  principal  figures  being  portraits  of  the  Kemble  family. 
When  in  Rome  he  made  a  copy  of  Raphael's  "  Transfiguration,"  in 
eighteen  days.  Through  the  influence  of  Canova  he  was  made  a 
member  of  the  Acad.  of  S.  Luke. 

Hartmann,  Johann  Jacob,  born  in  Bohemia.  Flourished  about 
1716.  In  the  Vienna  Gall,  are  four  landscapes  by  him,  which  repre- 
sent the  Four  Seasons. 

Haydon,  Benjamin  Robert,  born  at  Plymouth,  England  (1786- 
1846).  This  painter  had  an  ambition  to  be  considered  the  source  of 
progress  to  the  art  of  his  country.  He  had  inordinate  vanity,  and 
became  disaffected  with  people  and  things,  so  that  his  life  had  much 
of  unhappiness.  On  the  other  hand  he  found  some  appreciative  and 
faithful  friends,  and  from  them  received  great  kindness  and  assist- 
ance, His  principal  works  were  "  Dentatus,"  the  "Judgment  of 
Solomon,"  "  Christ's  Entry  into  Jerusalem,"  the  "  Raising  of  Laz- 
arus," "  Nero  watching  the  Burning  of  Rome,"  the  "  Banishment 
of  Aristides,"  etc.  Towards  the  close  of  his  life  he  was  overcome 
with  pecuniary  difficulties,  and  greatly  disappointed  in  not  obtaining 
an  order  to  paint  a  fresco  in  the  new  House  of  Parliament,  and  at 
length,  losing  aU  hope,  he  took  his  own  life  in  his  studio,  where  he 
was  painting  a  large  picture  of  "  Alfred  the  Great  and  the  first  Eng- 
lish Jury." 

Haymann,  Francis,  born  at  Exeter,  England  (1708-1776).  The 
best  works  of  this  artist  are  his  small  portraits  in  genre  style.  The 
dress  of  his  period  and  the  antique  furniture  harmonized  and  ren- 
dered his  interiors  very  picturesque.  His  coloring  was  clear,  not 
bright,  and  his  finish  careful  and  correct  in  every  part.  His  per- 
spective was  good  and  the  accessories  well  managed. 

Head,  Guy.     An  English  painter  whose  chief  works  were  copies 


HEAD  —  HEERE.  325 

of  Italian  and  German  masters.     His  copies  from  Rubens  are  in  the 
Royal  Acad.     He  died  in  1801. 

Heaphy,  Thomas,  died  1835.  This  artist  was  so  versatile  in 
his  talents  that  he  scarcely  did  his  best  at  anything.  He  first  painted 
fislvmarkets  and  scenes  from  vulgar  life,  then  portraits,  and  made 
many  excellent  copies  of  celebrated  works  of  art.  He  was  one  of 
the  first  members  of  the  old  Water-color  Society,  and  active  in  the 
Society  of  British  Artists,  but  gave  up  his  connection  with  both. 

Hearne,  Thomas  (1744-1817).  Educated  as  an  engraver  under 
Woollett,  he  became  an  excellent  draughtsman,  and  may  be  called 
the  originator  of  English  water-color  landscapes.  He  was  also  much 
employed  in  the  illustration  of  "  The  Antiquities  of  Great  Britain." 
His  works  are  not  numerous,  and  are  in  private  collections. 

Heath,  James,  born  1765.  An  eminent  English  engraver,  whose 
works  are  much  esteemed. 

Heck,  Nicholas  van  der,  born  at  the  Hague  (1580-1638).  His 
best  works  are  in  the  Town  House  at  Alkmaer,  in  which  place  he  as- 
sisted to  found  an  Acad.  His  pictures  have  a  fine  effect  of  chiaro- 
scuro. 

Heda,  Willem  Klaasz,  born  at  Haarlem  (1594-1678?).  A 
good  painter  of  still-life.  One  of  his  works  is  in  the  Landauer 
Briiderhaus  at  Nuremberg. 

Heem,  Jan  David  de,  born  at  Utrecht  (1600-1674).  The  best 
painter  of  flowers,  fruit,  etc.,  of  the  school  to  which  he  belonged. 
He  also  excelled  in  representing  glass  or  crystal.  His  works  are 
very  valuable.  The  two  finest  are  in  the  Berlin  and  Vienna  gal- 
leries. Others  are  at  the  Hague  and  Amsterdam  museums,  and  in 
the  Louvre.  The  Dresden  and  Cassel  galleries  also  have  fine  pic- 
tures by  De  Heem. 

Heem,  Cornells  de,  born  1630.  Son  of  the  preceding,  he  painted 
the  same  subjects  with  almost  equal  merit.  His  works  are  in  the 
Munich,  Vienna,  and  Dresden  galleries. 

Heere,  Lucas  de,  born  at  Ghent  (1534-1584).  His  father  was  a 
sculptor  and  architect,  and  his  mother  painted  miniatures.  Lucas 
was  placed  under  the  instruction  of  Frans  Floris  and  became  profi- 
cient in  making  designs  for  tapestry,  glass  painting,  etc.  He  was 
employed  by  the  Queen  of  France  to  make  designs  for  the  tapestry 
at  Fontainebleau.  He  visited  England,  and  there  is  a  very  curious 
picture  of  his  at  Kensington,  which  represents  Queen  Elizabeth 
richly  dressed,  with  crown,  sceptre,  and  globe,  coming  out  of  a 
palace  accompanied  by  two  female  attendants.  Juno,  Venus,  and 
Minerva  fly  before  her.  Juno  drops  her  sceptre,  Venus  her  roses, 
while  Cupid  throws  away  his  bow  and  arrows  and  clings  to  his 
mother.  De  Heere  was  a  poet  as  well  as  artist,  and  it  is  probable 
that  the  following  lines,  which  are  upon  the  frame,  were  written  by 
him:  — 


326  HEERE  —  HELMONT. 

Juno  potens  sceptris,  et  mentis  acumine  Pallas, 
Et  roseo  Veneris  f  ulget  in  ore  decor ; 
Adfuit  Elisabeth;  Juno  perculsa  refugit; 
Obstupuit  Pallas,  erubuitque  Venus. 

His  small  portraits  and  miniatures  were  delicate  and  well  painted. 

Heil,  Daniel  van,  born  at  Brussels  (1604-1662).  He  painted 
landscapes,  but  changed  to  the  representation  of  conflagrations, 
towns  on  fire,  and  kindred  subjects,  in  which  the  brilliancy  of  effect 
was  surprising.  He  also  painted  winter  scenes  very  well.  John 
Baptist  Heil  was  brother  to  the  preceding.  Born  1609.  He  painted 
history  and  portraits,  and  was  much  employed  in  the  churches  of  his 
native  Brussels.  His  portraits  were  good  and  many  of  them  re- 
main in  the  Low  Countries.  Leo  van  Heil,  the  younger  brother  of 
the  foregoing,  was  more  of  an  architect  than  painter.  He  etched  a 
plate  after  Rubens  for  his  own  amusement. 

Heins,  Heinsius,  or  Ens,  Gioseffo,  Flourished  about  1660  and 
worked  in  Venice.  He  painted  capricci  which  were  so  admired  as 
to  obtain  for  him  the  appointment  of  chevalier  of  the  Order  of  the 
Cross  from  Urban  VHI.  Some  of  his  works  which  were  brought  to 
England  are  very  curious.  He  executed  a  few  more  serious  pictures. 
An  altar-piece  by  him  in  the  Ognissanti  is  very  beautiful. 

Heintsch,  Johann  Georg.  Lived  in  Prague,  died  1713.  His 
heads  of  women  and  children  are  especially  beautiful,  full  of  grace, 
and  expressive  of  purity  and  sweetness.  There  are  three  remarkable 
works  of  his  in  Prague,  namely :  "  Christ  Disputing  in  the  Temple," 
in  the  Estates  Gall. ;  a  standing  figure  of  the  Virgin,  painted  in  1696 
for  the  ch.  of  the  Karlshof ;  and  "  Christ  after  the  Temptation,  with 
Angels  ministering  to  Him,"  in  the  Strahow  Convent. 

Heinz,  Joseph  (about  1565-1609).  Pupil  of  Van  Achen.  He 
was  a  favorite  of  the  Emperor  Rodolph  II.,  who  sent  him  to  Rome  to 
study.  He  thus  modified  his  manner  formed  under  Van  Achen,  and 
painted  several  mythological  subjects  for  the  Emperor.  Some  of  his 
smaller  works  are  better  than  his  larger  ones.  His  pictures  are  seen 
to  the  best  advantage  in  the  Vienna  Gall. 

Helmbrecker,  Theodore,  born  at  Haarlem  (1624-1694).  Pupil 
of  Peter  Grebber.  He  studied  in  Rome,  and  only  returned  to  Hol- 
land for  a  short  time,  preferring  to  live  in  Rome.  His  best  works 
are  his  easel  pictures  of  markets,  fairs,  and  Roman  views  with  groups 
of  poor  people,  monks  distributing  food,  alms,  etc.  He  was  much 
employed  by  the  Jesuits  in  Rome,  and  painted  some  of  his  best  pic- 
tures for  them. 

Helmont,  Matthew  van,  born  at  Brussels  (1653-1719).  Pupil 
of  David  Teniers.  His  subjects  were  like  his  master's,  fairs,  markets, 
and  scenes  from  peasant  life.  In  the  Aremberg  Gall,  there  is  a  large 
Fair  scene  by  him,  with  numerous  figures.  Louis  XIV.  admired  him 
very  much,  and  some  of  his  best  works  were  executed  for  that  king. 


HELMONT  —  HERNANDEZ.  327 

flis  son,  Segres  James  van  Helmont  (1683-1726),  painted  history. 
His  works  are  well  considered,  and  are  seen  in  several  churches  in 
Brussels. 

Heist,  Bartholomew  Van  der,  born  at  Amsterdam  (1613-1670). 
One  of  the  most  renowned  Dutch  portrait  painters.  Sir  Joshua 
Reynolds  said  of  his  picture  painted  to  celebrate  the  peace  of  West- 
phalia, and  representing  an  Archery  Festival,  "  This  is  perhaps  the 
first  picture  of  portraits  in  the  world,  comprehending  more  of  those 
qualities  which  make  a  perfect  portrait  than  any  other  I  have  ever 
seen."  His  principal  works  are  in  the  Gall.,  and  the  new  Hotel  de 
Ville,  of  Amsterdam.  No.  197,  Louvre,  is  a  small  replica  of  one  of 
his  finest  works,  and  is  considered  superior  to  the  large  picture,  which 
is  in  Amsterdam. 

Hemessen,  Jan  Van  (about  1500-1566).  A  pupil  or  imitator  of 
Quentin  Massys.  His  pictures  have  little  merit,  are  vulgar  and  dis- 
agreeable in  expression,  hard  in  outline,  and  ugly  in  color.  They 
may  be  seen  in  the  Munich  and  Vienna  galleries. 

Hemling,  Hans.     See  Memling. 

TV  JT  Hemskerk,  Martin.  Real  name  Martin  van  Veen. 
>  [  Vh  Born  at  Hemskerk  (1498-1574).  The  remaining  works  of 
this  painter  are  not  numerous,  neither  are  they  such  as  to 
cause  regret  of  this  fact.  He  attempted  to  imitate  Michael  Angelo, 
but  his  manner  is  repulsive,  hard,  and  mannered.  At  one  time  his 
pictures  were  very  popular  in  Holland,  and  some  still  remain  at  Delft 
and  Haarlem.  There  is  one  of  his  works  in  the  Berlin  Mus.,  and 
another  in  the  Vienna  Gall. 

Hemskerk,  Egbert.  There  were  two  painters  by  this  name, 
father  and  son.  They  painted  the  same  subjects,  drunken  scenes  and 
drolls,  interiors  of  Dutch  ale-houses  with  boors  and  the  usual  accom- 
paniments. There  is  some  merit  in  their  works,  but  they  have  been 
so  much  surpassed  by  Teniers  and  others,  that  they  are  held  in  small 
esteem.  These  artists  flourished  in  the  middle  of  the  1 7th  century. 

Hendreks,  Wybrand,  born  at  Amsterdam  (1744-1830).  He 
painted  a  variety  of  subjects,  but  his  best  works  are  flower  pieces  and 
dead  game,  resembling  those  of  Weenix.  All  his  pictures  have  con- 
siderable merit,  and  are  seen  in  fine  collections.  In  the  Amsterdam 
Mus.  there  is  a  view  of  Haarlem,  by  Hendriks. 

Herleii,  Frederick,  died  1491.  This  artist  is  important  from  the 
fact  that  he  carried  the  art  of  the  Van  Eyck  school  into  upper  Ger- 
many. He  was  an  imitator,  and  his  works  so  much  resemble  those  of 
Rogier  van  der  Weyden,  that  it  is  probable  the  latter  was  his  master. 
His  chief  works  are  in  the  churches  of  Nb'rdlingen  and  Rothenburg 
(on  the  Tauber). 

Hernandez,  Gregorio,  born  at  Pontevedra,  1566;  died  at  Valla- 
dolid,  1636.  An  eminent  sculptor  in  the  reign  of  Philip  HI.  He 
never  quitted  Valladolid  after  he  went  there  to  study,  except  when 


328  HERNANDEZ  —  HERRERA. 

he  went  to  Vittoria  to  execute  a  high-altar  in  the  ch.  of  S.  Miguel, 
and  to  Plascencia  for  the  same  purpose.  Bosarte  called  him  the 
"  sculptor  of  religion."  Stirling  calls  his  style  tender  and  graceful, 
and  his  works  full  of  devotional  feeling,  and  says,  "  They  seem  to 
have  been  executed  under  the  influence  of  the  same  pious  inspiration 
which  warmed  the  fancy  of  Juni,  and  guided  the  pencil  of  Factor." 
Many  of  his  works  are  in  the  Mus.  of  Valladolid,  where,  of  course, 
they  lose  much  of  the  effect  which  they  had  when  in  the  chapels  for 
which  they  were  designed.  Hernandez  was  devout  in  character,  and 
accustomed  to  works  of  charity,  and  often  provided  decent  burial  for 
the  poor.  A  large  bas-relief  of  the  "  Baptism  of  Christ,"  now  in  the 
Mus.,  is  one  of  the  finest  specimens  of  Spanish  sculpture.  The  last 
twenty  years  of  his  life  he  passed  in  the  house  where  Juni  had  lived. 
At  his  death  his  body  was  embalmed  and  buried,  according  to  his  will, 
in  the  monastery  of  the  Carmen,  where,  in  the  principal  ohapel,  his 
portrait  hung  many  years. 

Herp,  Gerard  van,  1604.  Pupil  of  R-ubens,  he  painted  moderate 
sized  genre  subjects.  He  was  a  good  draughtsman  and  colorist. 
A  picture  of  "  Monks  distributing  Bread,"  by  Van  Herp,  is  in  the 
National  Gall.,  and  other  works  of  his  are  in  the  Berlin  Mus.  and 
Aremberg  Gall. 

Herrera,  Francisco  de,  the  Elder,  born  at  Seville  (1576-1656). 
Pupil  of  Luis  Fernandez,  but  he  adopted  not  the  style  of  any  other 
painter;  he  was  original,  and  probably  the  most  remarkable  artist 
who  studied  in  Andalusia  only.  He  had  no  timidity,  used  large 
brushes,  laid  on  color  in  masses,  and  produced  vigorous  and  effective 
results.  His  violent  temper  drove  away  his  children  and  pupils.  He 
could  engrave  on  bronze,  and  made  false  coins.  When  his  forg- 
eries were  detected,  he  took  refuge  with  the  Jesuits.  While  in 
their  convent  he  painted  the  story  of  S.  Hermengild,  one  of  the 
patron  saints  of  Seville.  When  Philip  IV.  saw  it  he  gave  him  his 
liberty.  His  picture  of  S.  Basil  is  in  the  Mus.  of  Seville,  and  his 
"  Last  Judgment  "  hangs  in  its  original  place  in  the  ch.  of  S.  Ber- 
nard. In  1650  Herrera  went  to  Madrid  and  found  Velasquez,  one 
of  his  runaway  pupils,  in  great  favor  there. 

Herrera,  Francisco  de,  the  Younger,  born  at  Seville  (1622- 
1685).  Son  and  pupil  of  the  preceding.  He  passed  six  years  in 
Italy  and  became  a  very  fine  painter.  He  was  as  ill-tempered  as 
his  father,  and  very  jealous.  He  sometimes  painted  his  name  on 
his  pictures  on  a  representation  of  a  piece  of  paper  torn  by  rats. 
These  were  intended  to  represent  other  artists.  At  Seville  he  was 
appointed  director  of  the  Acad.  of  which  Murillo  was  president.  This 
did  not  please  him,  and  he  went  to  Madrid.  Stirling  says  he  was 
made  Superintendent  of  Royal  Works,  but  died  of  chagrin  because  he 
was  not  made  painter  to  Charles  II. ,  as  he  had  been  to  Philip  IV. 
Some  of  his  best  works  are  in  the  churches  and  convents  of  Madrid. 


HERRERA  —  HILTON.  329 

He  painted  flowers,  fish,  and  still-life,  and  on  account  of  his  fondness 
for  reproducing  the  finny  tribes,  the  Italians  called  him  "  II  Spagnolo 
degliPesci." 

Hersent,  Louis,  born  at  Paris,  1777.  His  portraits  of  eminent 
persons  are  numerous,  and  these,  as  well  as  his  historical  and  poetical 
subjects,  are  seen  in  the  richest  French  collections.  He  was  a  mem- 
ber of  the  Institute,  of  the  Royal  Acad.  of  Berlin,  and  an  officer  of 
the  Legion  of  Honor.  His  wife,  whose  maiden  name  was  Manduit, 
was  also  a  good  artist.  Some  of  her  works  are  in  the  galleries  of  the 
Luxembourg  and  at  Fontainebleau. 

Heusch,  Willem  de,  born  at  Utrecht.  Died  1712  (?).  Pupil  of 
Jan  Both,  he  imitated  him  almost  perfectly.  The  small  figures  in  his 
landscapes  were  usually  supplied  by  other  artists.  His  works  are 
rare  in  public  collections.  There  is  one  in  the  Louvre,  one  in  the 
Vienna,  and  one  in  the  Cassel  Gall.  He  also  executed  thirteen  etch- 
ings, which  resemble  the  works  of  Both  as  much  as  his  paintings  do. 

Heusch,  Jacob  de,  born  at  Utrecht  (1657-1701).  Nephew  and 
pupil  of  the  preceding,  he  was  not  his  equal.  One  of  his  works  is  in 
the  Vienna  Gall. 

Hey  den,  Jan  van  der,  born  at  Govinchem  (1637-1712).  His 
pictures  are  architectural,  and  represent  well-known  Dutch  build- 
ings, palaces,  churches,  etc.,  or  the  canals  of  Dutch  towns  with 
houses  on  their  borders.  He  finished  his  works  with  exquisite  care. 
The  figures  were  supplied  by  Van  der  Velde  and  other  painters. 
Smith  gives  a  list  of  158  pictures  by  Van  der  Heyden,  which  is  a 
large  number  when  we  consider  his  manner  of  finish.  Many  of  his 
works  are  in  England,  but  most  large  European  collections  have  spec- 
imens of  his  painting,  and  all  his  views  are  well  selected,  warm  in 
color,  and  admirable  in  arrangement. 

Highmore,  Joseph,  born  in  London  (1692-1780).  He  was  a 
man  of  large  acquirements,  and  wrote  an  excellent  work  on  Perspec- 
tive. He  was  more  successful  in  portraits  than  in  historical  pictures. 
His  picture  of  the  poet  Young  is  at  All  Souls  College,  Oxford. 

Hilliard,  Nicholas,  born  at  Exeter  (1547-1619).  He  distinguished 
himself  as  a  miniature  painter  during  the  reign  of  Queen  Elizabeth, 
and  was  also  a  favorite  of  King  James  I.,  who  gave  him  an  appoint- 
ment as  drawer  of  small  portraits  and  embosser  of  medals. 

Hilton,  William,  born  at  Lincoln  (1786-1839).  An  English  his- 
torical painter.  Unfortunately  he  used  some  method  of  mixing  his 
colors  which  is  fast  destroying  his  works.  He  gave  much  time  to  the 
study  of  anatomy,  and  represented  such  subjects  as  gave  good  oppor- 
tunity for  the  display  of  the  human  figure,  such  as  the  rapes  of  Proser- 
pine, Europa,  Ganymede,  etc.  He  had  much  taste  in  design,  and  his 
color  was  brilliant  and  harmonious.  He  became  a  member  of  the 
Royal  Acad.  in  1819,  and  keeper  of  the  same  in  1827.  One  of  his 
best  works  is  "  Edith  discovering  the  Body  of  Harold."  It  is  in  the 
Vernon  Coll.,  and  is  perishing  rapidly. 


330  HIRE  —  HOEFNAGEL. 

Hire,  Laurent  de  la,  born  at  Paris  (1606-1656).  Painter  of  his- 
torical subjects.  His  works  are  in  the  Louvre,  and  (some  of  the 
best)  in  the  ch.  of  the  Carmelites  at  Paris.  His  pictures  are  star- 
tling in  the  brilliancy  of  their  coloring,  and  he  introduced  fragments 
of  fine  architectural  remains,  large  plants,  and  other  objects,  which 
added  to  their  effect.  His  drawing  of  the  figure  was  correct,  and 
often  graceful. 

Hobbema,  Mindert.  Of  the  life  of  this  celebrated  painter  scarcely 
more  can  be  said  than  that  he  was  living  in  1669.  He  divides  with 
Ruysdael  the  honor  of  being  the  best  Dutch  landscape  painter.  His 
works  long  remained  unappreciated,  but  now  sell  for  enormous  sums, 
one  having  brought  £4000.  Many  of  his  best  works  are  in  England 
and  in  private  collections.  The  specimens  seen  in  Continental  gal- 
leries are  ordinary,  and  he  cannot  be  judged  by  them.  One  of  the 
best  is  in  the  Berlin  Mus.  The  National  and  Dulwich  galleries  have 
each  one  of  his  works.  The  figures  in  his  pictures  were  often  ex- 
ecuted by  Adrian  Van  de  Velde,  Philip  Wouvermans,  and  other 
distinguished  artists.  His  color  is  warmer  and  more  golden  than 
Ruysdael' s,  and  he  is  more  fond  of  sunshine.  His  impasto  is  solid. 
His  foliage  is  exquisite,  and  the  representation  of  a  variety  of  trees 
gives  variety  of  tone.  His  single  trees  are  less  lofty  and  grand  than 
Ruysdael's,  but  more  individual.  He  often  painted  villages  sur- 
rounded with  trees,  and  water-mills  sometimes  make  a  prominent 
feature.  He  represented  ruined  castles  rarely;  wheat  fields,  mead- 
ows, and  small  pools  more  frequently.  His  foregrounds  are  very  fine, 
and  he  was  able  to  finish  in  detail  without  sacrificing  general  effect. 

Hodges,  William,  born  in  London  (1 744-1 797).  Pupil  of  Wilson. 
He  accompanied  Captain  Cook  around  the  world,  and  lived  some 
time  in  India.  His  pictures  embrace  views  in  many  different  coun- 
tries, and  are  well  selected  and  picturesque. 

Hoeck,  Jan  van,  born  at  Antwerp  (1598-1651).  After  studying 
with  Rubens  he  went  to  Rome  ;  he  then  painted  much  for  Ferdinand 
II.  at  Vienna,  and  on  his  return  to  Antwerp  was  principal  painter  to 
the  Archduke  Leopold.  His  "  Christ  on  the  Cross,"  in  the  Cath. 
at  Bruges,  is  one  of  the  best  pictures  in  Belgium.  He  painted  both 
history  and  portraits,  and  was  a  good  colorist  and  correct  draughts- 
man. 

Hoecke,  Robert  van,  born  at  Antwerp,  1609.  He  painted  bat- 
tles, camps,  troops,  and  military  scenes.  His  pictures  are  in  the  Ber- 
lin and  Vienna  galleries.  He  drew  well,  understood  perspective,  and 
had  a  spirited  touch.  He  also  etched  a  set  of  plates.  These  are 
slightly  done,  but  are  skilful  and  pleasing. 

Hoefnagel,  Jooris,  born  at  Antwerp  (1545-1600).  Pupil  of  Hans 
Bol,  whom  he  much  excelled.  He  travelled  much,  and  made  very 
numerous  drawings  in  different  countries.  These  comprise  every 
possible  variety  of  subject.  He  decorated  manuscripts  in  the  old 


HOEFNAGEL  —  HOGARTH.  331 

manner.  A  Roman  missal  illuminated  by  him  is  in  the  Imperial  Li- 
brary at  Vienna;  he  labored  on  it  eight  years.  He  also  illustrated  a 
book  with  all  kinds  of  animals,  birds,  and  fishes.  One  of  his  single 
pieces  is  in  the  Library  at  Brussels.  His  works  are  in  the  spirit  of 
his  time,  and  void  of  interest  in  their  design,  but  their  execution  and 
finish  are  wonderfully  painstaking  and  skilful. 

Hoekgeest,  G.  or  C.  Nothing  is  known  of  the  history  of  this 
artist.  Two  fine  pictures  of  the  interior  of  the  new  ch.  at  Delft, 
painted  by  him,  are  in  the  Mus.  at  the  Hague.  They  are  equal  to 
the  best  art  of  his  country. 

Hoet,  Gerard,  born  at  Bommel  (1648-1733).  He  first  assisted 
his  father,  who  was  a  glass  painter,  then  studied  with  Warnar  Van 
Rysen.  After  various  ups  and  downs,  he  settled  in  Utrecht,  where 
he  founded  an  academy  of  design,  of  which  he  was  director.  His 
pictures  are  very  well  esteemed,  especially  the  cabinet  sizes.  His 
design  is  correct  and  his  color  agreeable. 

Hofland,  Thomas  Christopher,  born  in  Nottinghamshire  (1777- 
1843).  An  excellent  landscape  painter.  He  excelled  in  depicting 
stormy  skies  and  seas.  It  is  to  be  regretted  that  so  few  of  his 
works  remain. 

Hogarth,  William,  born  in  London  (1697-17G4).  The  name  of 
this  painter  is  first  in  the  history  of  British  art,  and  he  ranks  with 
the  eminent  masters  of  his  class  in  all  countries.  He  was  as  eminent 
as  a  satirist,  as  he  was  as  an  artist,  for  he  presented  the  lessons  to 
be  drawn  from  the  follies  of  his  time,  more  powerfully  with  his  brush 
than  any  writer  could  do  with  his  pen,  or  any  preacher  with  his  ser- 
mons, even  had  he  a  thousand  voices.  In  1712  Hogarth  was  ap- 
prenticed to  a  silversmith,  and  in  engraving  armorial  bearings,  the 
grotesque  creatures  he  copied  assisted  to  strengthen  liis  natural  love 
and  aptness  for  the  ridiculous.  After  1718  he  was  much  occupied  in 
engraving  for  the  booksellers.  In  1730  he  married  the  daughter  of 
Sir  James  Tliornhill,  without  that  painter's  consent.  At  that  time 
lie  painted  small  genre  subjects  and  portraits.  In  the  latter  depart- 
ment, he  was  quite  successful,  but  his  patrons  discovered  what  he 
well  knew,  that  he  was  better  fitted  for  something  else.  Soon  after 
liis  marriage,  he  commenced  his  famous  series  of  the  "  Harlot's  Prog- 
ress." When  some  of  these  were  shown  to  his  father-in-law,  he  de- 
clared that  a  man  who  could  paint  such  pictures,  could  maintain  a 
wife  who  had  no  portion.  They  were  soon  fully  reconciled  to  each 
other.  The  «  Harlot's  Progress,"  the  "  Rake's  Progress,"  and  " Mar- 
riage &  la  Mode  "  were  painted  from  1 734  to  1 744.  The  satire  of  these 
works  is  immense;  the  costumes  are  excellent,  and  the  painting  good. 
He  managed  his  interiors  well;  he  gave  them  breadth,  and  the  furni- 
ture and  other  accessories  were  exactly  and  strikingly  rendered  with- 
out becoming  too  prominent.  His  works  of  this  kind  are  almost 
numberless.  No  place  in  society,  no  phase  of  life  escaped  his  brush. 


332 


HOGARTH. 


Lord  Orford  says,  "  It  would  be  suppressing  the  merits  of  his  heart  to 
consider  him  only  as  a  promoter  of  laughter.  I  think  I  have  shown 
that  his  views  were  more  generous  and  extensive.  Mirth  colored  his 
pictures,  but  benevolence  designed  them.  He  smiled  like  Socrates, 
that  men  might  not  be  offended  at  his  lectures,  and  might  learn  to 
laugh  at  their  own  follies."  In  1753  he  published  a  book  called 
"  The  Analysis  of  Beauty."  It  is  a  matter  for  congratulation,  that 
many  of  his  works  are  in  public  galleries  where  all  the  world  may  see 
them,  and  that  so  many  of  his  own  plates  exist,  by  means  of  which 
the  lover  of  art  can  enjoy  what  the  best  engravings  of  his  works  by 


MARRIAGE  A  LA  MODE.   BY  HOGARTH. 

In  the  National  Gall. 

other  artists  can  never  give.  The  following  list  comprises  the  largest 
part  of  his  own  engravings:  — 

Portrait  of  himself,  with  two  figures  and  two  Cupids.     1720. 

A  print  emblematical  of  the  South  Sea  Bubble ;  W.  Hogarth,  inv. 
et  sculp.  1721. 

Thirteen  plates  for  Aubrey  de  la  Motraye's  Travels  in  1723. 

Seven  small  prints  for  Apuleius'  "  Golden  Ass."     1724. 

Fifteen  Head-pieces  for  Beaver's  "Military  Punishments  of  the 
Ancients." 

Burlesque  on  Kent's  Altar-piece  in  S.  Clement's.     1725. 

A  Masquerade  invented  for  the  use  of  ladies  and  gentlemen,  by  the 
ingenious  Mr.  Heidegger.  1725. 


HOGARTH.  333 

A  just  view  of  the  British  Stage.     1725. 

Twelve  prints  for  "  Hudibras;  "  large  set.     1726. 

The  small  set  (17)  with  Butler's  head;  this  head  is  that  of  J.  B. 
Monnoyer,  the  flower  painter. 

Mary  Tofts,  the  rabbit  woman  of  Godalmin.     1726. 

Rich's  triumphant  entry  into  Covent  Garden.     1728. 

Sarah  Malcolm,  executed  in  1732  for  murder;  W.  Hogarth,  ad 
vivum  pinxit  et  sculpsit.  This  portrait  was  painted  two  days  before 
her  execution. 

A  Midnight  Modern  Conversation.     1 733. 

Southwark  Fair.     1734. 

The  Harlot's  Progress;  six  plates.     1733  and  1734. 

The  Rake's  Progress;  eight  plates.     1735. 

The  Sleepy  Congregation.     1736. 

The  Distressed  Poet.     1736. 

The  Lecture ;  datur  vacuum.     1736. 

The  four  Times  of  the  Day.     1 738. 

Strolling  Actresses  in  a  Barn.     1 738. 

The  Enraged  Musician.     1741. 

Marriage  &  la  Mode;  engraved  under  the  direction  of  Hogarth, 
by  Scotin,  Ravenet,  and  Baron.  1 745. 

Portrait  of  Martin  Folkes,  Esq.     1 745. 

Simon,  Lord  Lovat;  an  etching.     1746. 

Garrick  in  the  character  of  Richard  III. ;  engraved  by  Hogarth 
and  Grignion.  1746. 

The  Stage-coach,  an  Election  Procession  in  the  yard.     1747. 

Effects  of  Industry  and  Idleness;  twelve  plates.     1747. 

The  Gate  of  Calais;  "  Oh  the  Roast  Beef  of  Old  England !  "  By 
Hogarth  and  Mosely. 

The  March  to  Finchley;  L.  Sulivan,  sc.,  W.  Hogarth,  dir.     1748. 

Portrait  of  Hogarth  with  a  pug  dog.     1 749. 

The  Stages  of  Cruelty;  four  prints.     1751. 

Paul  before  Felix;  scratched  in  manner  of  Rembrandt.     1751. 

Moses  brought  to  Pharaoh's  Daughter  ;  Hogarth  and  Sulivan. 

Columbus  breaking  the  Egg.     1 755. 

Four  prints  of  an  Election;  1755;  Hogarth,  Grignion,  La  Cave* 
and  Aveline. 

Portrait  of  Hogarth  painting  the  Comic  Muse.     1 758. 

The  Cockpit.     1759. 

The  Five  Orders  of  Periwigs.     1761. 

Credulity,  Superstition,  and  Fanaticism.     1762. 

The  Times ;  two  plates.     1762. 

John  Wilkes,  Esq.;  drawn  from  life,  and  etched  by  Hogarth. 
1763. 

The  Bruiser;  C.  Churchill  in  the  character  of  a  Russian  Hercules. 
1763. 

The  Good  Samaritan. 


334  HOGARTH  —  HOLBEIN. 

The  Pool  of  Bethesda. 

Sigismonda. 

The  Analysis  of  Beauty  ;  two  plates. 

Hogenberg.  This  is  the  name  of  several  engravers  who  flourished 
.luring  the  last  half  of  the  16th  century.  It  is  believed  that  one  of 
them  executed  the  first  portrait  that  was  engraved  in  England;  but 
the  honor  is  a  matter  of  dispute  between  Remigius  and  Francis 
Hogenberg.  They  all  engraved  portraits  and  illustrations  for  books. 
The  other  names  were  John  and  Abraham. 

Holbein,  Hans,  called  Old  Holbein.  There  is  very  little  known 
of  this  painter.  In  the  Mus.  at  Augsburg,  there  is  a  picture  dated 
1459,  inscribed  Hans  Holben,  C.  A.;  attributed  to  a  painter  who  was 
probably  the  grandfather  of  Hans  Holbein,  the  Younger.  This  pic- 
ture has  little  interest  as  a  work  of  art,  and  represents  the  Virgin, 
life-size,  seated  on  a  bank,  holding  the  Child.  Another  work  by 
this  same  master  is  dated  1499,  and  has  some  interesting  facts  con- 
nected with  it.  In  1484  Pope  Innocent  VIII.  granted  certain  indul- 
gences to  the  nuns  of  S.  Catherine,  at  Augsburg,  providing  that  they 
should  pay  their  devotions  at  the  altars  of  the  seven  ancient  basilicas 
of  Rome.  But  he  allowed  that  pictures  of  these  churches  should  an- 
swer the  same  purpose  as  the  churches  themselves.  The  nuns  there- 
fore, when  they  rebuilt  their  convent  in  1496,  ordered  a  series  of 
these  pictures  which  were  to  be  so  beneficial  to  them.  Old  Hans 
Holbein  represented  that  of  S.  Maria  Maggiore.  The  picture 
is  of  the  average  excellence  of  the  German  artists  of  the  15th  cen- 
tury. The  signature  and  date  are  on  two  bells ;  on  the  first  is  Hans 
Holba,  the  name  being  finished  with  in  on  the  second,  and  the  date 
1499.  In  the  picture  is  a  tomb- stone,  on  which  is  an  H.  Nothing 
whatever  of  circumstance  or  fact  can  be  related  with  any  certainty 
of  this  artist,  and  many  authors  have  even  doubted  his  existence. 

Holbein,  Hans,  the  Father,  born  about  1459,  and  probably  the 
son  of  Michael  Holbein,  a  leather  dresser.  There  is  a  panel  painting 
at  Hampton  Court,  dated  1512,  called  "  Holbein's  Father  and 
Mother,"  believed  to  represent  this  Hans  Holbein  the  father,  and 
his  wife.  In  the  register  of  taxes  for  Augsburg,  the  name  of  Hans 
Holbein,  Maler,  occurs  eleven  times  between  1494  and  1516.  The 
earliest  known  work  by  him  is  a  "  Madonna  and  Child  with  Angels," 
in  the  Moritz  Capelle,  at  Niirnberg.  There  are  three  of  his  pictures 
in  the  Augsburg  Gall.,  representing  the  "  Basilica  of  the  Vatican," 
the  "  Trinity,"  and  a  large  picture  in  three  parts  containing  the 
"  Transfiguration,"  with  the  "  Feeding  of  the  Four  Thousand  "  on  one 
side,  and  the  "  Casting  out  a  Devil  "  on  the  other.  His  pictures  are 
numerous  in  many  churches  and  galleries,  such  as  Munich,  Frank- 
fort, Basle,  and  Schleissheim.  But  in  the  Cath.  of  Augsburg,  his 
ability  is  displayed  at  its  best  in  the  four  works  painted  in  1493,  for 
the  old  Abbey  of  Weingarten,  in  Wiirtemberg.  These  have  been 


HOLBEIN.  335 

restored  and  fitted  up  with  rich,  gilt  Gothic  carvings,  and  placed 
over  four  altars  in  the  body  of  the  Cath.  He  executed  an  immense 
number  of  pictures  for  churches  and  religious  houses.  When  these 
houses  were  suppressed,  his  pictures  were  scattered,  and  his  serial 
works  are  now  separated.  In  one  saloon  of  the  Munich  Pinakothek, 
there  are  sixteen  works  on  panels,  by  this  Holbein.  The  date  of  his 
death  is  not  known.  He  was  living  in  1521,  and  in  1524  his  name 
was  registered  among  the  deceased  artists. 

Holbein,  Sigmand,  brother  of  the  preceding,  and  also  an  artist. 
But  one  painting  with  his  signature  is  known,  although  others  are 
assigned  to  him.  He  was  a  bachelor,  and  Hans  Holbein,  the 
Younger,  with  his  sisters,  inherited  his  property.  His  will  was 
dated  in  1540.  The  time  of  his  death  is  not  known. 

Holbein,  Ambrose.  This  artist  was  either  the  brother  or  half- 
brother  of  Hans  Holbein,  the  Younger.  He  was  admitted  a  member 
of  the  guild  of  painters  at  Basle  in  1517,  and  it  is  supposed  died 
soon  after.  Four  pictures  attributed  to  him  are  in  the  Mus.  at 
Basle.  A  picture  in  the  Belvedere  Gall,  is  also  ascribed  to  him,  and 
upon  some  wood-cuts  and  drawings  the  monogram  of  an  A.  H.  is 
believed  to  be  his. 

TT-\  TVT  Holbein,    Hans,    the     Younger, 

I'jj  I  j  I  born    in    Augsburg,    1494  or    1495; 

died  in  London,   1543.     A  drawing 

of  the  year  1509  is  the  earliest  known  work  of  this  painter.  He 
was  instructed  by  his  father  and  his  reputed  uncle,  Hans  Burgk- 
mair.  By  the  time  he  was  fifteen  he  received  independent  com- 
missions. The  Augsburg  Gall,  has  four  compositions  which  are  his 
earliest  known  works,  about  1510.  In  the  same  (Jail,  are  pictures 
extending  to  1516  in  which  his  advance  is  remarkable.  The  precious 
picture  of  his  father  and  mother,  dated  1512,  has  already  been 
referred  to.  The  "  Martyrdom  of  Sebastian,"  in  the  Pinakothek  at 
Munich,  a  very  interesting  early  production,  could  not  have  been 
painted  later  than  1516.  It  is  a  triptych  five  feet  in  height  and 
seven  in  width.  The  "  Execution  of  S.  Sebastian"  is  the  centre 
picture.  The  right  wing  represents  "  S.  Barbara,"  and  the  left  "  S. 
Elizabeth  of  Hungary  giving  Drink  to  the  Sick."  This  last  is  a  fine 
picture  and  much  superior  to  any  work  of  Hans  Holbein,  the  Father. 
In  the  Imhof  Coll.,  in  the  Mus.  at  Berlin,  are  three  volumes  of 
the  early  drawings  of  this  painter,  executed  from  1509  to  1516. 
For  his  early  years  they  are  just  such  an  illustration  as  the  Windsor 
portfolios  are  of  his  later  time.  About  1516  he  removed  to  Basle.  The 
works  which  have  been  ascribed  to  him  in  that  city  are  innumerable. 
In  truth,  almost  everything  which  was  painted  there  has  been,  first 
or  last,  credited  to  him,  and  it  is  only  at  a  comparatively  recent  time 
that  his  works  have  been  separated  from  the  mass.  In  England,  too, 
for  u  time,  nearly  every  portrait  of  the  reign  of  Henry  VIII.  was 


336  HOLBEIN. 

attributed  to  Holbein.  In  1517  he  was  called  to  Lucerne  to  decorate 
a  house  which  was  still  in  existence  in  1824.  The  library  of 
Lucerne  has  sketches  of  all  the  compositions  painted  there.  He 
also  executed  works  for  the  Augustines  of  Lucerne  and  for  the 
parish  church  in  Altorf.  He  entered  the  guild  of  painters  and 
took  up  the  rights  of  citizenship  at  Basle,  in  1519.  It  was  in  this 
year  that  Charles  V.  became  Emperor  of  Germany,  and  that  Hol- 
bein formed  his  friendship  with  Boniface  Amerbach.  Holbein's 
portrait  of  the  latter,  dated  this  year,  is  one  of  his  very  best  ;  and 
his  very  remarkable  picture,  now  at  Lisbon  in  the  Pal.  of  the 
King  of  Portugal,  called  the  "  Fountain  of  Life,"  was  also  painted 
in  1519.  In  1521  Hans  Holbein  was  commissioned  by  a  council  of 
Basle  to  decorate  the  new  Rath-house  or  Town  Hall.  These  works, 
which  represented  historical  and  Scriptural  scenes,  have  been  de- 
stroyed, and  the  Mus.  of  Basle  possesses  very  insignificant  fragments. 
The  easel  pictures  which  he  painted  at  Basle  are  rare,  and  it  is  a 
reasonable  supposition  that  at  this  time  he  was  often  employed  as  a 
house-decorator  and  a  designer  for  stained  glass  and  silver  work  ; 
indeed,  designs  for  these  various  styles  of  work  are  preserved  in  the 
museum.  His  more  prominent  pictures  of  this  time  are  Jacob 
Meier  and  his  wife,  1516;  "  Adam  and  Eve,"  1517;  portrait  of  Dr. 
Amerbach,  1519;  one  of  John  Froben,  the  printer;  one  of  the  cele- 
brated Erasmus;  a  life-size  picture  of  "  Christ  lying  in  the  Tomb," 
1521 ;  the  very  remarkable  portraits  of  his  wife  and  two  children, 
1525  or  1526;  and  an  exquisite  portrait  of  himself,  a  drawing  in 
body-color,  painted  when  he  was  twenty-one.  The  years  1523  and 
1524  are  not  accounted  for.  He  probably  made  many  drawings  for 
stained  glass,  and  prepared  drawings  for  wood-cuts.  In  the  hall  of 
designs,  at  Basle,  there  are  ten  sets  of  drawings  for  the  "  Passion  of 
our  Lord."  His  preparation  for  the  "  Dance  of  Death  "  must  also 
have  occupied  much  time.  Among  his  friends  at  Basle,  Froben,  the 
printer,  and  the  celebrated  Erasmus  deserve  especial  mention.  The 
former  employed  him  somewhat  for  book  illustrations,  and  he  made 
various  portraits  of  both.  That  of  Erasmus  writing,  at  Hampton 
Court,  was  a  fine  work.  The  one  of  most  reputation  is  at  Longford 
Castle  in  Wiltshire.  One  at  Windsor  was  painted  in  1537,  and  it  is 
said  that  in  1525,  the  year  in  which  Luther  married  the  nun,  Cather- 
ine Bohra,  Holbein  painted  both  these  remarkable  characters.  But 
this  needs  confirmation.  The  character  of  Holbein  has  been  repre- 
sented in  a  most  unfavorable  light.  That  he  was  a  drunkard,  the 
number  and  quality  of  his  works  seem  sufficiently  to  contradict. 
The  prominent  remaining  charge  against  him  is  his  separation  from 
his  wife.  He  married  Elizabeth  Schmid,  a  widow,  with  one  son 
named  Franz.  The  picture  called  "  Holbein's  Wife  and  Children," 
already  mentioned,  probably  represents  Franz,  and  Philip,  the  son  of 
Holbein.  The  mother  is  a  coarse-looking,  unattractive,  middle-aged 


HOLBEIN.  337 

woman.     It  is  said  that  Holbein  was  driven  from  Basle  by  his  wife's 
temper.     He  occasionally  visited  her,  and  probably  contributed  to 


THE  BURGOMASTER  MEIEK  MADONNA.      BY  HOLBEIN. 

Dresden  Gall. 

her  support  at  all  times.     The  Meier  Madonna,  in  the  Dresden  Gall., 
commonly  considered  the   masterpiece  of   Holbein,  is   believed  to 


338  HOLBEIN. 

have  been  painted  a  short  time  before  he  went  to  England.  Hol- 
bein has  been  considered  as  the  painter  of  the  "  Dance  of  Death," 
both  at  Basle  and  Berne.  The  true  authors  of  these  pictures  are 
now  known  to  have  been  Kluber  and  Nicholas  Manuel,  but  it  is 
believed  that  Holbein  made  a  set  of  designs  for  engravings  of  this 
subject,  which  appear  to  have  been  first  published  at  Lyons  in  1538, 
although  they  must  have  been  prepared  much  earlier.  There  were 
forty-one  cuts  in  all.  His  Old  Testament  cuts  appeared  at  the  same 
time  with  the  "  Dance  of  Death."  These  are  all  assigned  to  the 
time  when  he  was  in  Basle,  on  account  of  the  leisure  he  is  known  to 
have  had.  Want  of  employment  is  the  only  reason  Erasmus  gave 
for  his  going  to  England.  He  arrived  thereat  the  close  of  1526, 
bearing  a  letter  of  introduction  from  Erasmus  to  Sir  Thomas  More, 
who  at  once  received  him  with  kindness.  The  principal  painter  in 
England  at  that  time  was  Luke  Hornebolt,  who  persuaded  Holbein 
to  take  up  miniature  painting.  1527  was  the  year  in  which  Henry 
"VTLI.  fell  in  love  with  Anne  Boleyn.  This  was  the  first  year  of 
Holbein's  occupation  in  England,  but  he  does  not  appear  to  have 
entered  the  King's  service  until  after  1530.  In  the  mean  time  he 
painted  Sir  Thomas  More's  family  and  friends,  among  whom  were 
Archbishop  Warham  and  Sir  Henry  Gilford,  both  fine  and  important 
pictures.  In  1528  he  painted  Sir  Thomas  and  John  Godsalve,  on 
the  same  panel,  now  at  Dresden;  and  the  astronomer  Kratzer,  sur- 
rounded by  his  instruments,  now  in  the  Louvre.  It  is  not  probable 
that  Holbein  ever  painted  Queen  Catherine  or  Cardinal  Wolsey. 
The  pictures  of  More  and  his  family  are  very  numerous.  The  most 
imposing  one  of  Sir  Thomas  is  that  formerly  owned  by  Mr.  Farrer. 
There  is  a  story  connected  with  one  of  these  portraits  of  More 
which  relates  that  on  the  day  of  the  death  of  the  ex-chancellor, 
after  Henry  VIII.  had  reproached  Anne  Boleyn,  who  had  never  for- 
given More  for  refusing  to  be  present  at  her  wedding,  she  looked  at 
this  picture  and  exclaimed,  "  Oh,  me!  the  man  seems  to  be  still 
alive  !  "  and,  seizing  it,  threw  it  into  the  street.  Eventually  it  was 
taken  to  Rome  and  was  in  the  Palazzo  de'  Crescenzi.  Wornum  says 
of  this,  "Though  it  may  not  be  true,  it  is  not  a  bad  story."  Hol- 
bein returned  to  Basle  in  1530,  and  completed  the  frescoes  in  the 
Town  House.  This  being  done  he  returned  to  England.  When  or 
how  he  was  first  introduced  to  the  King  is  not  exactly  known.  The 
superb  portrait  of  George  Gyzen,  at  Berlin,  was  painted  in  1532. 
In  Ruskin's  description  of  this  picture  he  calls  it  inexhaustible. 
For  the  merchants  of  the  steel-yard  Holbein  executed  two  pictures 
called  "  Riches  "  and  "  Poverty."  These  were  probably  painted  in 
1532,  and  perished  at  Whitehall  in  1698;  but  in  the  British  Mus. 
there  is  a  drawing,  considered  the  original  of  the  "Riches,"  and 
both  pictures  are  known  by  plates.  In  1532  Holbein  was  summoned 
to  Basle  by  a  council  of  the  city.  He  received  this  communication, 


HOLBEIN.  339 

it  is  believed,  when  at  Calais  with  the  court  on  the  occasion  of  the 
celebrated  meeting  called  the  Field  of  the  Cloth  of  Gold.  After 
1533  Holbein  rarely  dated  his  pictures,  and  there  is  no  authentic 
portrait  by  him  of  Anne  Boleyn  or  her  daughter,  the  Princess  Eliza- 
beth. To  this  year  belongs  the  picture  called  the  "  Two  Ambassa- 
dors," supposed  to  represent  Sir  Thomas  Wyatt  and  some  learned 
friend.  They  are  standing  by  the  side  of  a  double  table,  one  in  a 
magnificent  dress,  the  other  in  a  doctor's  cap  and  morning-gown. 
It  is  not  his  most  refined  picture,  but  the  largest,  and  that  on  which 
he  labored  most.  In  1536  the  fine  portrait  of  Sir  Richard  Southwell, 
in  the  Uffizi  Gall.,  was  painted.  The  portrait  called  Jane  Seymour, 
in  the  Belvedere  Gall,  at  Vienna,  is  one  of  the  fine,  small  half- 
lengths  that  Holbein  often  executed.  The  picture  of  Mr.  Morett, 
in  the  Dresden  Gall.,  has  until  lately  been  attributed  to  Leonardo  da 
Vinci.  It  is,  in  truth,  one  of  the  finest  of  Holbein's  works.  It  is 
not  known  whom  it  represents.  Thomas  Morett  was  a  distinguished 
jeweller  who  served  Henry  VIH.,  and  was  a  friend  of  Holbein,  who 
often  worked  con  amore.  The  original  drawing  of  this  picture  was 
discovered  in  1860,  and  is  now  hung  beside  the  picture.  The  first 
payment  made  to  Holbein  as  in  the  service  of  the  King  occurred  in 
1538.  After  this  time  Holbein  painted  many  portraits  of  the  Royal 
family.  In  the  same  year  he  was  sent  to  Brussels  for  the  purpose  of 
painting  a  portrait  of  the  Duchess  of  Milan,  whom  the  King  had 
been  recommended  to  make  his  fourth  wife.  Her  ladyship  allowed 
him  a  sitting  of  three  hours,  in  which  he  made  a  sketch  which  has 
been  thought  to  be  a  small  panel,  with  the  head  and  hands  of  the 
Duchess,  now  at  Windsor.  According  to  the  laws  of  Basle  a  citizen 
could  not  enter  the  service  of  a  foreign  sovereign  without  the  con- 
sent of  the  council.  In  the  autumn  of  1538  he  visited  his  home  and 
obtained  permission  for  two  years  longer  residence  in  England. 
Great  exertions  were  made  in  Basle  to  retain  him  there,  but  at 
length  a  document  was  made  out  permitting  him  to  remain  two  years 
longer  in  England,  upon  the  condition  that  at  the  end  of  that  time 
he  should  settle  in  Basle,  and  should  receive  a  pension  for  life  of 
fifty  florins  a  year.  Just  as  the  two  years  expired  his  uncle  Sig- 
mund  died  and  left  him  property  in  Berne,  and  this  was  taken  pos- 
session of  by  Franz  Sclimid  in  behalf  of  his  mother.  After  this 
time  there  was  no  motive  for  Holbein  to  return  to  Basle ;  but  the 
official  document  prepared  and  addressed  by  the  council  of  that  city 
to  Henry  VIII. ,  is  most  complimentary  to  the  artist,  and  such  an 
one  as  could  scarcely  have  been  written  for  a  man  of  immoral  char- 
acter. The  King  became  very  fond  of  Holbein  and  treated  him  with 
much  generosity.  After  1537  he  had  a  painting-room  in  the  Pal.  at 
Whitehall.  In  1539  he  was  sent  to  the  Duchy  of  Cleves  to  paint 
a  portrait  of  Anne,  daughter  of  the  Duke,  who  was  married  to  the 
King  in  1540.  It  is  believed  that  Holbein  flattered  this  picture,  for 


340  HOLBEIN. 

when  the  King  came  to  see  the  lady  he  liked  the  picture  much 
better  than  the  original,  from  whom  he  was  divorced  immediately 
after  marriage.  Walpole  went  so  far  as  to  say  that  "  Holbein,  by 
practising  the  common  flattery  of  his  profession,  was  the  immediate 
cause  of  the  destruction  of  that  great  subject  (meaning  Cromwell), 
and  of  the  disgrace  that  fell  on  the  Princess  herself. ' '  The  half- 
length  picture  of  Anne,  in  the  Louvre,  is  a  homely  face,  but  an 
agreeable  one ;  and  the  fact  of  its  being  on  parchment  has  induced 
many  to  believe  that  it  is  the  original  picture,  taken  by  Holbein 
during  the  marriage  negotiation.  Among  the  other  important  pic- 
tures painted  by  Holbein  are  the  portraits  of  the  Duke  of  Nor- 
folk; Sir  Anthony  Denny ;  and  numerous  pictures  of  Henry 
VHL,  and  his  family  in  groups,  portraits,  and  miniatures.  There 
also  remain  various  drawings  of  ornamental  designs,  among  which 
that  for  the  Jane  Seymour  cut  is  important.  One  of  his  last  works 
was  the  portraits  of  the  barber-surgeons,  which  represents  the  King 
granting  a  new  charter  to  that  society.  On  the  7th  of  October,  1543, 
Holbein  hastily  prepared  his  will,  on  account  of  the  plague  which  was 
raging.  He  died  between  the  7th  of  October  and  the  29th  of  November 
of  the  same  year,  but  of  the  circumstances  of  his  death  or  burial  noth- 
ing is  known.  There  is  an  anecdote  that  at  one  time,  when  Holbein 
passed  through  Strasburg,  he  visited  a  distinguished  painter  without 
making  himself  known.  He  went  next  day  when  the  artist  was  out, 
and  painted  a  fly  upon  the  picture  on  the  easel.  When  the  master 
returned  he  noticed  the  fly,  and  attempted  to  drive  it  away.  He 
found  he  could  not  do  so,  and  when,  on  inquiry,  he  learned  who  had 
been  there,  he  sought  Holbein  all  through  the  city  ;  but  he  had 
already  left  for  England.  When  he  was  painting  at  Whitehall 
there  came  to  his  studio  one  day  a  nobleman  who  forced  himself 
into  the  room,  although  the  artist  told  him  that  he  was  engaged  in 
painting  the  portrait  of  a  lady  for  the  King.  Holbein  was  so  angry 
that  he  seized  the  man  and  threw  him  down-stairs.  Without  waiting 
to  see  what  had  happened,  he  rushed  to  the  King  and  confessed  what 
he  had  done.  The  King  bade  him  wait  in  his  apartment  until  he 
learned  more  of  the  matter.  Almost  immediately  the  nobleman  was 
brought  in  on  a  chair,  much  injured  in  body  and  temper.  He  com- 
plained bitterly  to  the  King,  who  made  light  of  the  matter,  when 
the  nobleman  lost  his  temper  and  threatened  to  take  the  law  into  his 
own  hands.  This  roused  the  anger  of  the  King,  who  exclaimed, 
"Now  you  have  no  longer  to  deal  with  Holbein,  but  with  me,  the 
King.  Do  you  think  this  man  is  of  so  little  consideration  with  us  ? 
I  tell  you,  my  lord,  that  out  of  seven  peasants  I  can,  if  I  please,  any 
day  make  seven  earls ;  but  out  of  seven  earls  I  could  not  make  one 
such  artist  as  Hans  Holbein."  The  Earl  besought  his  pardon,  and 
the  King  warned  him  that  if  he  attempted  any  violence  on  the 
painter,  either  himself  or  through  others,  he  would  treat  it  as  an 


HOLBEIN  —  HOLLAR.  341 

offence  against  his  own  royal  person.  As  an  engraver  on  wood 
Holbein  deserves  especial  notice.  Before  leaving  Switzerland  he 
was  employed  by  the  most  celebrated  publishers  of  his  time  in  Basle, 
Zurich,  Leyden,  and  Lyons.  His  wood-cuts  of  the  "  Dance  of 
Death  "  are  his  most  important  works.  When  complete,  there  are 
fifty-  three  prints  ;  but  it  is  rare  to  find  more  than  forty-  six.  They 
are  small,  upright  pictures,  surrounded  by  a  border.  His  Old  Tes- 
tament prints  numbered  ninety,  and  the  best  impression  of  them  was 
published  in  1539  at  Lyons,  by  the  brothers  Treschel.  These  two 
series  have  been  often  reproduced.  That  engraved  by  Hollar  in 
1789  is  finely  executed.  That  by  Dance,  in  1833,  is  also  excellent. 
Holbein  also  made  wood-cuts  for  a  catechism  executed  in  1548.  This 
work  is  extraordinary  and  rare.  It  was  republished  at  London  in  1829. 
The  "  Pastime  of  the  People,  or  the  Chronicles  of  Divers  Realms,  and 
most  especially  of  the  Realm  of  England,"  printed  first  in  1529,  was 
republished  by  Dibden  in  1811.  Very  few  copies  exist.  In  an  illus- 
tration of  the  Revelation  of  St.  John,  published  by  T.  Wolff  in  1523, 
twenty-one  wood-cuts  of  the  Apocalypse  are  attributed  to  Holbein.  A 
celebrated  wood-cut  of  an  upright  figure,  under  a  decorated  gate,  called 
Erasmus  of  Rotterdam,  has  been  more  recently  printed  ;  for  the  copper 
still  exists.  In  the  first  and  second  impressions  there  were  Latin 
inscriptions  which  have  been  omitted  more  recently.  His  u  Moriae 
Encomium  "  has  been  frequently  printed.  It  consists  of  plates  after 
his  humorous  drawings,  and  is  by  no  means  among  his  best  produc- 
tions. There  are  also  many  title-pages,  symbolical  alphabets,  etc.  ; 
and  the  following  portraits  :  — 

Prince  Henry  Frederick  ;  full  length. 

Thomas  Egerton,  Viscount  Brackley,  Lord  Chancellor. 

Sir  John  Hay  ward,  Kt.,  LL.  D. 

Martin  Billingsley,  writing  master. 

Giovanni  Floris,  Italian  master  to  Anne  of  Denmark. 

Michael  Drayton  ;  prefixed  to  his  works. 

Holland.     See  Dance. 

Hollar,  Wenceslaus,  born  at  Prague  (1607- 
1677)-  This  eminent  engraver  was  the  pupil 
sSS  of  Matthew  Merian.  In  1636  the  Earl  of 
Arundel  met  Hollar  in  Cologne,  and  considered  his  talents  so  re- 
markable that  he  engaged  his  services,  and  took  him  to  England, 
where  he  made  many  plates,  a  large  number  being  from  the  pictures 
in  the  Arundel  Coll.  On  the  breaking  out  of  the  civil  war  of  1645, 
the  Earl  removed  to  Antwerp,  and  thither  Hollar  also  went  and  con- 
tinued to  engrave  from  the  pictures  of  his  patron.  The  Earl  went  to 
Italy,  and  Hollar  worked  for  the  booksellers,  but  his  pay  was  so 
small  that  he  ventured  to  return  to  England  in  1652.  Charles  II. 
was  restored  at  length,  and  he  hoped  for  better  days,  but  the  plague 
broke  out,  and  he  was  reduced  to  great  misery.  He  was  afterwards 


BBSITIl 


342  HOLLAR  —  HONTHORST. 

sent  by  the  king  to  make  drawings  of  Tangier,  but  his  pay  was  only 
£100.  He  died  in  the  depths  of  poverty;  the  bailiffs  even  went  to 
take  his  bed,  but  he  begged  them  to  leave  it  until  he  could  die,  which 
was  not  long.  His  prints  number  nearly  2400.  They  are  very  much 
sought  by  collectors  and  are  very  dear,  especially  some  which  are 
scarce.  The  prices  given  for  these  are  enormous.  His  portraits  and 
landscapes  are  very  fine,  as  are  also  his  costumes  of  women,  furs, 
shells,  insects,  etc. 

Hollo-way,  Thomas  (1748-1827).  An  English  engraver,  princi- 
pally known  for  his  engravings  after  the  cartoons  of  Raphael.  Their 
execution  is  very  elaborate,  but  connoisseurs  prefer  the  freer  manner 
of  Dorigny.  He  engraved  much  for  books  and  magazines. 

Hondekoeter,  Melchior,  born  at  Utrecht  (1636-1695).  He  was 
descended  from  a  noble  family,  his  great-grandfather  being  Marquis 
of  Waterloo.  Giles  Hondekoeter,  his  grandfather,  and  Gisbert,  his 
father,  were  both  artists.  Melchior  received  his  first  instruction 
from  his  father,  after  whose  death  he  studied  with  Jan  Weenix,  his 
uncle.  He  painted  birds  and  animals,  alive  and  dead.  His  live 
birds  are  his  best  works,  and  are  very  excellent.  His  drawing  is 
good,  and  he  is  true  to  life.  It  is  said  that  he  had  a  fine  cock  so  well 
trained  that  he  would  keep  any  position  his  master  wished,  long 
enough  to  be  painted.  His  pictures  are  in  the  Louvre,  and  all  the 
large  German  galleries.  The  Amsterdam  Mus.  has  nine,  and  that 
of  the  Hague  has  four. 

Hondius,  Abraham,  born  at  Rotterdam  (1638-1695).  He  lived 
many  years  in  England.  His  favorite  subjects  were  dogs.  He  ac- 
quired a  good  reputation,  but  his  pictures  are  open  to  grave  criti- 
cism. His  drawing  is  incorrect  and  his  color  not  pleasing.  His  very 
rare  etchings  do  him  more  honor  as  an  artist  than  his  pictures. 
There  are  ten  of  these. 

Honthorst,  Gerard,  born  at  Utrecht  (1592-1662).  Pupil  of 
Abraham  Bloemaert.  He  went  to  Rome,  and  acquired  the  manner  of 
Caravaggio.  His  pictures  found  favor  in  Rome  and  on  account  of 
his  fondness  for  painting  night  scenes  he  was  called  Gherardo  dalle 
Notti.  After  his  return  to  Holland  he  opened  a  school  which  was 
well  attended,  and  his  reputation  having  reached  Charles  I.,  that 
king  invited  him  to  England.  He  only  remained  six  months,  but 
during  that  time  painted  several  historical  pictures.  He  was  also  hon- 
orably employed  by  the  King  of  Denmark  and  the  Prince  of  Orange. 
In  his  later  years  he  painted  many  portraits.  His  wonderful  facility 
in  the  use  of  the  brush  enabled  him  to  execute  a  large  number  of 
works,  and  these  are  seen  at  the  Louvre,  in  Munich  Gall.,  at  the  new 
Hotel  de  Ville  of  Amsterdam,  Berlin  Mus.,  etc.  They  embrace  sub- 
jects from  sacred  and  profane  history,  mythology,  allegory,  and  genre 
designs. 

Honthorst,  Willem.     Flourished  in  the  middle  of  the  1 7th  cen- 


HONTHORST  —  HORREMANS.          343 

tury.     Brother  of  Gerard.     Many  of  his  portraits  are  in  the  Prussian 
royal  residences,  and  resemble  the  works  of  his  brother. 

Hoogh,  Peter  de.  Nothing  is  known  of  the  history  of  this  painter. 
His  works  are  dated  from  1658  to  1670.  He  painted  interiors  and 
conversations,  and  was  remarkable  for  his  effects  of  sunshine;  in  fact, 
he  may  be  considered  the  painter  of  full,  clear  sunlight.  He  often 
represented  two  rooms,  the  figures  being  in  the  first,  and  the  second 
full  of  sun;  even  the  dust  in  the  air  can  almost  be  seen.  In  this  no 
other  master  approaches  him.  His  impasto  is  excellent,  and  his  touch 
very  delicate.  His  out-of-door  scenes  are  usually  in  a  court-yard  or 
garden,  and  are  very  picturesque.  About  100  pictures  are  known  by 
this  master,  and  many  of  these  are  in  private  collections  in  England. 
The  Louvre,  Amsterdam,  and  Munich  galleries  have  specimens,  as 
have  also  the  Van  der  Hoop  Coll.,  at  Amsterdam,  and  the  Landauer 
Briiderhaus  at  Nuremberg. 

Hooghe,  Romeyn  de,  born  at  the  Hague  about  1638.  An  en- 
graver of  some  merit.  He  left  a  considerable  nwmber  of  works,  some 
of  which  are  in  good  estimation. 

Hoogstraeten.  There  were  three  painters  of  this  name.  The 
father,  Theodore  or  Dirk,  painted  landscapes  and  still-life.  The  sons, 
Samuel  and  John,  painted  a  variety  of  subjects.  Samuel  was  the 
most  noted,  and  was  born  at  Dort  (1627-1678).  He  painted  genre 
subjects,  marine  views,  animals,  and  still-life.  His  touch  was  deli- 
cate, his  color  clear  and  agreeable,  and  he  painted  with  great  care- 
fulness. The  Vienna  and  Hague  galleries  have  attractive  works  by 
this  master. 

Hopfer,  David,  Jerome,  and  Lambert.  Three  engravers  of 
Nuremberg  who  flourished  about  the  middle  of  the  1 6th  century. 
They  signed  their  plates  with  a  hop-blossom  between  the  initials  (for 
their  name  means  hop-plant),  and  this  was  mistaken  for  a  candle- 
stick by  some,  and  they  were  called  the  Masters  of  the  Candlestick. 
Their  plates  are  stiff  and  of  no  great  merit,  but  some  of  them  are 
prized  on  account  of  their  rarity. 

Hoppner,  John,  born  in  London  (1759-1810).  A  fine  colorist 
and  portrait  painter.  lie  also  painted  a  few  fancy  subjects,  of  which 
the  "  Sleeping  Nymph  "  was  one  of  the  best.  His  state  portraits 
were  especially  good,  as  he  gave  great  richness  to  the  robes,  and  man- 
aged them  well.  He  loved  to  represent  his  lady  sitters  in  rustic  cos- 
tunics.  His  landscape  backgrounds  arc  fine,  and  he  was  accustomed 
to  employ  his  leisure  in  making  chalk  sketches,  which  were  very 
beautiful. 

Horremans,  John.  There  were  two  artists  by  this  name,  father 
and  son.  Both  died  in  1759.  They  painted  similar  subjects,  con- 
versation pieces.  The  characters  in  the  pictures  of  the  father  were 
usually  peasants,  while  those  of  the  son  were  from  the  higher  walks 
of  life.  Their  works  sometimes  suggest  n  thought  of  Hogarth.  They 


344 


HORREMANS  —  HOUBRAKEN. 


are  not  uncommon  in  England,  and  are  in  the  Antwerp  Mus.,  and 
the  Cassel  and  Dresden  galleries. 

Hoskins,  John.  The  name  of  a  father  and  son,  both  miniaturists 
of  the  reign  of  Charles  I.  The  works  of  the  father  are  very  ex- 
quisite, those  of  the  son  not  as  fine.  The  father  used  a  monogram, 
the  son  the  simple  initials  J.  H.  The  father  died  1664. 


Houbraken,  Arnold,  born  at  Dort,  1660.  He  painted  portraits 
and  small  historical  subjects,  and  wrote  a  biographical  account  of  the 
Dutch  artists.  He  also  made  some  etchings,  but  is  more  celebrated 
as  the  father  of  the  succeeding  artist,  than  for  his  pictures. 

Houbraken,  Jacob,  born  at  Dort,  1698.  This  eminent  engraver 
especially  excelled  in  portraits,  of  which  he  made  a  great  number. 


HOUBRAKEN  —  HUCHTENBURGH.        345 

His  plates  are  not  all  of  the  same  excellence,  but  some  of  them  have 
not  been  surpassed.  His  drawing  is  correct,  and  his  execution  deli- 
cate, while  his  stroke  is  bold,  and  his  color  brilliant. 

Houdon,  Jean  Antoine,  born  at  Versailles  (1741-1828).  At 
the  age  of  eighteen,  he  gained  the  grand  prize  for  sculpture,  in  the 
French  Acad.,  and  went  to  Rome,  where  he  remained  ten  years. 
He  was  invited  to  America  by  Franklin,  and  executed  the  statue  of 
Washington  and  the  bust  of  Lafayette,  for  the  Capitol  at  Richmond, 
Virginia.  His  statues  of  young  girls  were  very  much  admired.  For 
the  use  of  the  French  Acad.,  he  made  two  representations  of  the 
human  frame  without  the  skin,  which  showed  great  knowledge  of 
anatomy.  His  principal  works  were  a  statue  of  "Morpheus;"  a 
"  Diana,"  for  the  Empress  of  Russia;  statue  of  Voltaire,  for  the 
peristyle  of  the  French  theatre;  busts  of  Rousseau,  D'Alembert, 
Marshal  Ney,  Napoleon,  Josephine,  and  others,  and  a  statue  of 
Cicero. 

Houston,  Richard.  This  engraver  excelled  in  mezzotint,  and  in 
the  chalk  manner.  He  executed  a  large  number  of  portraits  and 
various  other  subjects,  many  of  which  are  much  esteemed. 

Howard,  Henry,  born  in  London  (1769-1847).  A  painter  of 
portraits  and  fancy  or  historical  subjects,  which  were  all  highly 
poetic.  After  studying  in  Italy,  and  visiting  Vienna  and  Dresden, 
he  settled  in  London.  He  became  Professor  of  the  Royal  Acad.  in 
1833,  and  delivered  very  excellent  lectures  there.  Most  of  his  fancy 
subjects  are  in  private  collections. 

Huber,  John  Rodolph,  born  at  Basle  (1668-1748).  He  studied 
in  Italy,  and  became  a  painter  of  considerable  merit.  In  1696  he  re- 
ceived the  appointment  of  court  painter  to  the  Duke  of  Wiirtemberg. 
He  painted  some  historical  subjects  and  some  ornamental  pictures  for 
the  palace,  but  was  chiefly  employed  on  portraits,  of  which  he  painted 
so  many  that  he  was  called  the  Tintoretto  of  Switzerland. 

Huchtenburgh,  Joon  Van,  born  at 
Haarlem  (1646-1733).  He  studied  under 
Jan  Wyck,  then  went  to  Rome,  and  re- 
turning, stopped  in  Paris  and  received  instructions  from  Van  der 
Meulen.  He  painted  landscapes,  hunts,  and  battle-pieces.  The 
latter  were  his  best  works.  About  1708  he  received  commissions 
from  Prince  Eugene,  and  an  excellent  picture  of  that  Prince  on 
horseback  is  in  the  Hague  Gall.  Others  are  in  the  Louvre  and 
Amsterdam  Mus.  His  chef-d' 'ceuvre,  the  "  Siege  of  Naumr,"  is  in 
the  Vienna  Gall.  He  had  good  inventive  powers,  drew  correctly, 
and  had  facility  of  execution,  but  his  color  was  not  equal  to  his  other 
qualities.  He  also  etched  a  great  number  of  plates  from  his  own  de- 
signs, and  those  of  Van  der  Meulen,  which  have  considerable  merit. 
He  scraped  a  few  plates  in  mezzotint,  of  which  it  is  now  difficult  to 
obtain  a  good  impression. 


346  HUDSON  —  IMOLA. 

Hudson,  Thomas,  born  in  Devonshire  (1701-1779).  A  pupil  of 
Richardson,  and  the  master  of  Sir  Joshua  Reynolds,  who  so  much 
eclipsed  him,  as  to  almost  make  us  forget  that  Hudson  was,  after  all, 
a  very  good  portrait  painter,  and  in  some  respects  invented  the 
style  which  Reynolds  and  Gainsborough  perfected. 

Huysmans,  Cornells,  born  at  Antwerp  (1648-1727).  Pupil  of 
Artois,  and  sometimes  called  Huysmans  of  Mechlin,  because  he 
settled  there.  His  landscapes  are  very  excellent,  and  are  prized  in 
the  large  European  galleries,  where  they  may  be  seen. 

Huysmans,  James,  born  at  Antwerp  (1656-1696).  A  good  por- 
trait painter.  He  went  to  England  in  the  reign  of  Charles  H.,  and 
was  much  patronized.  His  portraits  resemble  those  of  Lely. 

Huysum,  Van.  There  were  five  painters  of  this  name,  a  father 
and  four  sons;  but  of  these,  one  alone  merits  special  notice:  Jan 
Van  Huysum,  born  at  Amsterdam  (1682-1749).  He  excelled  as  a 
flower  and  fruit  painter.  In  these  pictures  he  introduced  antique 
vases,  ornamented  with  nymphs,  amorini,  etc.,  exquisitely  finished. 
Sometimes  also  birds'  nests  with  insects  and  dew-drops,  all  equally 
well  done.  His  works  are  in  many  public  and  private  collections, 
and  are  very  valuable.  He  also  left  a  large  coll.  of  fine  drawings. 


Ibbetson,  Julius  Caesar,  born  in  Yorkshire;  died  1817.  A 
painter  of  landscapes.  Some  of  his  mountain  views  are  his  best 
works.  His  farm-house  scenes  are  also  good,  and  he  succeeded  par- 
ticularly well  in  painting  pigs ;  and  by  some  is  thought  to  excel  Mor- 
land  in  these  animals.  Ibbetson  also  painted  a  few  small  full-length 
portraits.  Most  of  his  works  are  of  moderate  size. 

Ictinus.  This  Grecian  architect  designed  the  temple  of  Athene, 
called  the  Parthenon,  built  upon  the  Acropolis  of  Athens,  and  the 
temple  of  Apollo  Epicurius,  near  Phigalia,  in  Arcadia.  He  was  a 
contemporary  of  Pericles,  and  the  Parthenon  was  finished  438  B.  c. 
Ictinus  was  also  the  architect  of  the  shrine  at  Eleusis,  within  which 
the  mysteries  were  celebrated.  All  these  buildings  were  of  Doric 
architecture,  and  the  latter  was  so  planned  as  to  accommodate  a  vast 
number  of  persons. 

Imbert,  Joseph  Gabriel,  born  at  Marseilles  (1666-1749).  Pupil 
of  Charles  le  Brun  and  Van  der  Meulen.  At  the  age  of  thirty-four 
he  became  a  Carthusian  monk,  and  his  best  works  were  painted  for 
his  order;  especially  for  his  own  monastery  at  Villeneuve  d' Avignon. 
In  the  Carthusian  ch.,  at  Marseilles,  there  is  an  altar-piece  by  him, 
which  has  been  much  admired,  and  is  esteemed  his  chef-d'oeuvre. 

Imola,  Innocenzo  Francucci  da,  born  at  Imola  (1494-1549  ?). 
Pupil  of  Francia.  He  became  an  admirer  and  imitator  of  Raphael; 
indeed,  he  copied  whole  figures  from  the  works  of  that  master  into 


IMOLA  —  JAMESONE.  347 

his  own.  His  works  are  in  many  galleries.  The  most  important  are 
at  Bologna,  and  in  the  Cath.  of  Faenza. 

Ingham,  C.  C.,  born  at  Dublin,  1796.  Before  coming  to  America, 
at  the  age  of  twenty-one,  he  had  gained  a  prize  from  the  Dublin 
Acad.  His  pictures  were  finished  with  exquisite  care,  which  some- 
times lessened  their  spirit  and  truthfulness.  He  was  very  industrious, 
and  scarcely  lost  an  hour  of  daylight.  He  was  one  of  the  founders 
of  the  present  National  Acad.  of  Design. 

Inman,  Henry,  born  at  Utica,  N.  Y.  (1801-1846).  Pupil  of  Jar- 
vis.  He  possessed  a  fine  mind,  and  refined  and  scholarly  tastes.  As 
a  friend  he  was  much  beloved,  and  as  a  man  much  admired.  In  his 
pictures  he  was  somewhat  unequal,  and  when  we  regard  his  genre 
subjects,  we  feel  that  he  never  did  the  best  of  which  he  was  capa- 
ble, and  can  but  regret  that  he  did  not  devote  himself  to  that  class  of 
pictures.  His  portraits  were  very  much  admired  at  one  time,  and 
his  income  was  good;  but  his  health  failed,  he  met  with  some  reverses, 
was  absent  in  England  for  a  time,  and  returned  to  find  himself  out 
of  fashion,  and  his  place  filled  by  others.  He  painted  portraits  of 
various  notable  persons,  some  of  which  are  in  the  Boston  Athenaeum, 
Independence  Hall,  Philadelphia,  City  Hall,  New  York,  and  the 
Capitol  at  Albany.  His  genre  pictures  are  in  private  collections  and 
embrace  a  variety  of  subjects,  such  as  the  "  Boyhood  of  Washington," 
the  "Newsboy,"  the  "Awaking  of  Rip  Van  Winkle,"  "Mumble- 
the-Peg,"  etc.,  etc. 

Iriarte,  Ignacio  de,  born  at  Azcoitia,  1620;  died  at  Seville,  1685. 
Pupil  of  the  Elder  Herrera,  and  the  friend  of  Murillo.  He  became 
the  most  celebrated  landscape  painter  of  Andalusia.  Murillo  was  ac- 
customed to  say  that  he  painted  by  inspiration,  and  they  sometimes 
engaged  in  joint  works,  Iriarte  painting  the  background,  and  Mu- 
rillo the  figures.  At  length  they  disagreed  about  a  series  of  pictures 
of  the  Life  of  David.  Each  insisted  that  he  should  do  his  work  last, 
and  Murillo  finally  decided  to  paint  all  himself.  The  works  of  Iriarte 
are  rare,  and  much  esteemed.  He  has  been  called  the  Spanish 
Claude  Lorraine,  but  his  subjects  were  more  akin  to  those  of 
Salvator  Rosa.  He  loved  to  paint  the  wilderness,  wild  glens,  and 
tumbling  mountain  streams.  The  Royal  Gall,  at  Madrid  has  three, 
and  the  National  Mus.  one  of  his  pictures.  The  Louvre  has  two 
flower  pieces,  and  a  picture  of  "  Jacob's  Dream."  At  S.  Petersburg, 
in  the  Hermitage,  there  is  a  landscape. 

J. 

Jamesoiie,  George,  born  at  Aberdeen  (1586-1644).  He  was  a 
fellow-pupil  with  Vandyck  under  Rubens,  and  has  been  called  the 
Vandyek  of  Scotland.  In  1633  Charles  I.  visited  Edinburgh,  and 
sat  for  his  portrait  to  Jamesone,  with  whom  he  was  so  much  pleased, 


348  JAMESONE  —  JARENUS. 

that  he  presented  him  with  a  ring  from  his  own  finger.  His  best 
pictures  are  highly  esteemed,  and  are  executed  with  much  delicacy. 

Janet,  Francois.     See  Clouet. 

Jansen,  Cornelius.  Some  writers  say  he  was  born  at  Amsterdam, 
but  according  to  Sandrart,  London  was  his  birthplace,  and  his  par- 
ents were  Flemish  (1590-1665).  He  lived  in  England  many  years, 
and  was  very  successful  as  a  portrait  painter.  His  feeling  for  nature 
was  refined,  his  color  warm  and  tender,  and  his  composition  graceful. 
Many  of  his  works  are  in  the  galleries  of  England.  In  1648  he  went 
to  Holland,  where  he  was  constantly  employed  until  his  death. 
Many  of  his  pictures  are  painted  on  board. 

Jansens,  Abraham,  born  at  Antwerp  (1567-1631?).  Pupil  of 
Jan  Snellinck;  he  also  visited  Italy.  He  somewhat  resembled  Ru- 
bens in  style,  but  it  has  been  proved  that  there  is  no  foundation  for 
the  accounts  which  have  been  given  of  the  enmity  between  these  two 
masters,  or  of  the  dissipation  of  Jansens.  The  latter  excelled  in  rep- 
resenting artificial  lights,  and  some  of  his  torchlight  subjects  are  very 
fine.  His  works  are  seen  in  the  churches  of  Flanders,  and  there  are 
fine  specimens  in  the  Antwerp  and  Vienna  galleries. 

Jansseiis,  Victor  Honorius,  born  at  Brussels  (1664-1739).  This 
artist  painted  a  variety  of  subjects,  but  is  best  known  by  his  conver- 
sations, or  collections  of  gallants  and  ladies,  in  the  peculiar  costumes 
of  his  time.  He  was  a  good  colorist,  and  his  rich  dresses  and  dra- 
peries are  very  effective.  It  is  a  peculiarity  of  his  works  that  his 
figures  have  the  appearance  of  being  very  tall.  He  also  executed 
several  altar-pieces  for  the  churches  of  Brussels  and  other  cities. 

Jardin,  Karel  du,  born  at  Amsterdam  (1625-1678).  The  best 
pupil  of  Berchem,  but  more  nearly  resembling  Paul  Potter  in  style. 
He  went  when  quite  young  to  Rome,  and  became  so  fond  of  Italy 
that  with  the  exception  of  eight  years,  he  spent  the  remainder  of  his 
life  there.  His  portraits  are  better  than  those  of  his  master;  his 
Scriptural  and  mythological  subjects  cannot  be  admired;  but  his  land- 
scapes with  animals  and  figures  are  excellent.  Many  of  his  works 
are  very  highly  finished,  and  worked  up  in  the  smallest  details.  He 
represented  a  summer  sky  after  a  storm  with  remarkable  skill,  and 
indeed,  the  skies  of  his  pictures  form  one  of  his  chief  points  of  ex- 
cellence. The  number  of  his  works  is  not  large;  145  are  mentioned 
by  Smith.  He  lost  much  time  in  his  devotion  to  pleasure.  His 
works  are  best  seen  at  the  Louvre,  the  Hague,  and  in  Amsterdam. 
There  are  also  excellent  specimens  at  Dresden,  Munich,  and  Cassel, 
and  England  is  rich  in  his  paintings.  Very  large  prices  are  paid  for 
the  pictures  of  Du  Jardin.  He  also  executed  52  etchings,  which 
show  the  hand  of  a  master.  These  are  not  very  rare,  and  represent 
landscapes  and  animals. 

Jarenus.  This  painter  flourished  late  in  the  15th  century,  at 
Soest  in  Westphalia.  There  is  a  picture  of  his  in  the  Coll.  of  the 


JARENUS  —  JOANES.  349 

Earl  of  Pembroke  at  Wilton  House,  and  a  large  altar-piece  by  him 
is  in  the  Berlin  Mus.  The  centre  of  this  is  very  confused,  and  rep- 
resents scenes  from  the  Passion;  each  of  the  wings  contains  four 
scenes  from  the  Life  of  Christ;  those  in  the  left  wing  are  much  the 
best,  and  resemble  the  works  of  Van  Eyck. 

Jarvis,  John  Wesley,  born  at  South  Shields  on  the  Tyne  (1 780- 
1840).  This  artist  was  at  one  time  a  very  prominent  portrait  painter 
in  America,  to  which  country  he  came  when  five  years  old.  He 
was  of  a  convivial  disposition,  witty,  and  an  especially  good  story- 
teller. He  did  not  study  or  apply  himself  to  his  profession  with  any 
system,  and  the  pictures  he  left  are  very  unequal  in  merit.  He 
painted  a  great  number,  and  they  may  be  seen  in  all  parts  of  the 
country.  There  are  portraits  by  him  in  the  City  Hall  in  New  York, 
and  in  the  rooms  of  the  New  York  Historical  Society.  He  was  an  in- 
imitable story-teller,  and  the  life  of  the  circle  in  which  he  moved. 

Jeaurat,  Edme,  born  at  Paris  about  1680.  This  eminent  engraver 
especially  excelled  in  representing  the  peculiar  characteristics  of  the 
different  painters  whose  works  he  engraved. 

C-r  Jegher,  Christopher,  born  about  1590.  Rubens  em- 

1  ployed  him  to  make  wood-cuts .  from  some  designs  which 
Qv-^-xr^*-  he  intended  to  publish.  After  the  death  of  the  painter, 
Jegher  purchased  the  blocks  and  published  them  himself. 

Jervas,  Charles,  born  in  Ireland.  Died  1739.  Pupil  of  Sir  God- 
frey Kneller  and  teacher  of  Pope,  who  flattered  him  in  an  essay.  He 
was  a  portrait  painter  of  no  great  merit,  but  was  much  employed. 
He  also  copied  the  works  of  the  Italian  masters. 

Joanes,  Vicente  de,  called  also  Juan  Bautista  de  Juanes.  Born 
at  Fuente  de  Higuera,  1523;  died  at  Bocairente,  1579.  This  artist 
is  scarcely  known  out  of  Spain,  and  there  his  works  are  in  churches 
and  convents.  As  recently  as  1782  it  was  doubtful  if  any  of  his  pic- 
tures were  in  the  possession  of  laymen.  His  subjects  were  entirely 
religious,  and  he  commenced  his  pictures  with  prayer  and  fasting. 
It  is  more  than  probable  that  he  studied  in  Rome.  He  was  a  success- 
ful imitator  of  Raphael.  He  established  a  school  of  painting  at 
Valencia,  where  he  chiefly  resided.  It  is  related  that  the  Virgin  ap- 
peared to  a  Jesuit  of  Valencia  and  commanded  him  to  have  a  pic- 
ture painted  of  her  in  the  dress  in  which  she  appeared,  which 
was  a  white  robe  and  blue  mantle.  She  was  to  be  standing  on  a 
crescent;  the  mystic  dove  to  float  above  her;  her  Son  to  crown  her, 
while  the  Father  was  seen  to  lean  from  the  clouds  above  all.  Joanes 
was  chosen  to  execute  this  miraculous  commission,  and  although  he 
fasted  and  prayed  much,  he  could  not  succeed  in  realizing  the  ideal 
of  the  pious  Jesuit;  but  at  last  his  zeal  and  piety  overcame  all  diffi- 
culties, and  his  picture  was  placed  above  the  altar  of  the  Immaculate 
Conception  in  the  convent  of  the  Jesuits.  Artists  praised  it,  and  the 
monks  believed  in  its  miraculous  powers.  It  was  known  as  "  LaPu- 


350  JOANES  —  JORDAENS. 

risima."  He  was  inventive,  and  his  coloring  was  splendid,  but  his 
style  was  severe  and  stiff,  like  his  character.  Joanes  especially  ex- 
celled in  painting  the  Saviour.  He  seemed  to  have  conceived  the 
very  Christ  of  Scripture,  the  realization  of  the  visions  of  S.  John,  or 
the  poetry  of  Solomon.  In  these  pictures  majesty  and  grace,  strength 
and  love,  were  united.  His  best  pictures  of  Christ  represent  Him  as 
dispensing  the  types  of  his  body  and  blood.  He  frequently  introduced 
a  cup,  which  was  believed  to  have  been  that  used  by  our  Lord  at  his 
Last  Supper.  It  was  of  agate,  and  adorned  with  gold  and  gems. 
This  cup  is  known  as  the  Holy  Chalice  of  Valencia,  where  it  is  treas- 
ured in  the  Cath.  A  picture  of  this  kind  in  the  Mus.  of  Valencia  is 
perhaps  his  best.  This  Mus.  has  other  works  of  his,  and  others  are 
in  the  Cath.  of  the  same  city,  and  in  the  Royal  Gall,  of  Madrid.  In 
the  Queen  of  Spain's  Gall,  there  is  a  series  of  six  pictures  by  this 
master,  illustrating  the  life  of  S.  Stephen,  and  a  u  Last  Supper." 
Another  picture  of  the  latter  subject  was  painted  for  the  ch.  of  S. 
Nicholas  in  Valencia,  where  it  remains.  It  is  one  of  his  finest  works 
and  more  round  and  harmonious  in  design  and  color  than  most  of  his 
pictures  are.  In  portraits,  Joanes  excelled.  Perhaps  his  finest  one 
remaining  is  that  of  Don  Luis  de  Castelvy,  in  the  Royal  Gall,  of 
Madrid.  Stirling  says,  "  It  might  pass  for  a  work  of  Raphael  him- 
self." In  the  Mus.  of  Valencia  is  his  S.  Francis  de  Paula,  and  in 
the  Cath.  one  of  S.  Thomas  of  Villanueva,  and  one  of  Archbishop 
Juan  de  Ribera;  the  former  expressive  of  mildness,  the  latter  of 
gravity  and  thought,  and  both  of  dignified  superiority. 

Jode.  This  was  the  name  of  a  family  of  Flemish  engravers  who 
flourished  for  a  century  from  1560.  Arnold  de  Jode  was  the  latest, 
and  was  in  London  in  1666.  Peter  de  Jode,  the  Younger,  was  the 
best  engraver  of  them  all,  but  the  works  of  his  father,  Peter  the 
Elder,  are  well  esteemed,  and  some  of  them  are  scarce. 

Jongh,  Lieve  de,  born  near  Rotterdam  (1616-1697).  His  prin- 
cipal work  was  a  "  Company  of  Archers,"  for  the  Salle  des  Princes 
at  Rotterdam.  It  is  an  excellent  work,  and  may  be  compared  with 
those  of  Van  der  Heist. 

Jordaens,  Jacob,  born  at  Antwerp  (1593-1678).  Pupil  of  Adam 
Van  Noort  at  the  same  time  with  Rubens,  he  became  the  follower 
and  half  assistant  of  the  latter.  He  married  early  in  life  the 
daughter  of  Van  Noort,  and  never  visited  Italy.  He  was  a  master 
of  great  power.  He  painted  a  variety  of  subjects.  Many  of  his 
sacred  pictures  are  in  the  churches  of  Flanders  and  Brabant,  but 
they  are  not  his  best  works.  His  best  historical  work  is  in  the  House 
of  the  Wood  near  the  Hague,  and  represents  scenes  from  the  life  of 
Prince  Frederick  Henry  of  Orange.  His  best  works  are  popular 
subjects,  which  represent  the  customs  of  the  common  people.  These 
are  full  of  humor,  and  sometimes  degenerate  into  vulgarity,  but  are 
well  and  powerfully  painted.  His  pictures  vary  very  much  according 


JORDAENS  —  JUSTUS.  351 

as  he  was  interested  or  not  in  his  subject.  His  color  was  fine,  his 
impasto  somewhat  unequal,  but  he  excelled  in  depth  of  chiaro-scuro, 
and  a  "  certain  golden  glow  "  in  which  he  sometimes  surpassed  even 
Rubens.  His  pictures  are  numerous  and  are  seen  in  all  large  Euro- 
pean galleries. 

Jouvenet,  Jean,  born  at  Rouen  (1644-1717).  One  of  the  best 
French  academic  painters.  He  never  visited  Italy.  His  greatest 
work  was  a  "  Deposition  from  the  Cross,"  now  in  the  Louvre.  He 
painted  in  oil  and  fresco.  He  executed  many  works  for  the  princi- 
pal churches  of  Paris.  At  the  time  of  his  death,  he  had  held  the 
office  of  Rector  of  the  Acad.  of  Painting,  during  ten  years.  He  lost 
the  use  of  his  right  hand  in  1713,  and  his  latest  works  were  done  with 
the  left.  His  drawing  was  correct,  and  he  had  great  facility  of  exe- 
cution, but  his  color  cannot  be  praised. 

Julien,  Pierre  (1731-1804).  French  sculptor,  and  pupil  of  Guil- 
laume  Couston.  He  spent  four  years  in  Rome,  where  he  was  much 
admired  and  constantly  employed.  He  was  not  admitted  to  the  Royal 
Acad.  until  1779.  His  statue  of  La  Fontaine  is  considered  his  chef- 
d'oeuvre  in  that  department  of  sculpture.  His  last  work  was  a  statue 
of  Nicolas  Poussin,  executed  for  the  Hall  of  the  Institute.  He  made 
some  very  fine  bas-reliefs  for  the  castle  of  Rambouillet,  and  a  statue 
of  a  woman  bathing,  which  ranks  very  high  among  modern  sculp- 
tures. 

Juni,  Juan  de.  Flourished  from  the  middle  to  the  last  of  the  16th 
century.  Was  the  best  sculptor  in  Spain  at  that  time.  Has  some- 
times been  thought  a  Fleming,  but  Bermudez  believes  him  to  have 
been  a  native  of  Castile.  His  style  seems  to  prove  that  he  studied  in 
Italy.  He  hesitated  at  no  difficulty  of  attitude,  and  represented 
power,  energy,  and  strong  emotions,  which  made  his  works  a  per- 
fect contrast  to  those  of  Berreguete.  His  works  remind  one  of 
Michael  Angelo,  perhaps  more  than  those  of  any  other  modern 
sculptor.  His  sculptures  which  represent  the  Life  of  our  Lord,  still 
exist  in  the  Cath.  of  Osma.  They  were  done  by  the  order  of  the 
Bishop  of  Acosta,  who  is  buried  at  Aranda  de  Duero,  beneath  a 
monument,  also  the  work  of  Juni.  The  Mus.  of  Valladolid  has  the 
"  Entombment  of  Christ,"  made  in  clay.  It  formerly  adorned  the 
chapel  of  the  Franciscan  convent.  There  is  no  mention  of  the  name 
of  Juni,  later  than  1586. 

Justus  of  Padua,  as  he  is  frequently  called,  was  named  Giusto  di 
Gio.  Menabuoi,  and  was  born  in  Florence.  He  was  made  a  citizen 
of  Padua,  where  he  had  settled,  in  1375,  and  died  in  1400.  Several 
different  works  are  attributed  to  him,  some  of  which  are  in  a  very 
imperfect  state.  The  National  Gall,  has  a  fine  triptych  signed  by 
him,  and  dated  1367.  The  chief  subject  is  the  "  Coronation  of  the 
Virgin;  "  it  is  exquisitely  finished  in  parts,  especially  the  hands,  and 
the  figure  of  the  Virgin  is  very  graceful.  He  was  not  a  pupil  of 
Giotto,  but  may  be  ranked  among  the  best  of  the  Giotteschi. 


352  JUSTUS  —  KALF. 

Justus  of  Ghent.  There  are  several  works  attributed  to  this  old 
painter,  but  the  only  one  positively  known  to  be  his,  is  a  representa- 
tion of  the  "  Last  Supper  "  in  S.  Agatha,  at  Urbino.  This  was  exe- 
cuted in  1468-1474.  Full  accounts  are  preserved  concerning  this 
work  in  the  registers  of  the  convent.  It  is  probable  that  Justus  was 
employed  on  account  of  his  knowledge  of  the  use  of  oils,  and  not  be- 
cause of  superiority  over  such  men  as  were  living  in  Italy  in  his  day. 
His  manner  was,  however,  good;  his  composition  was  well  arranged, 
his  hands  and  feet  accurately  drawn  and  fairly  proportioned,  and  the 
figures  of  the  Apostles  are  more  refined  than  was  usual  in  his  time. 
The  state  of  the  picture  scarcely  warrants  a  judgment  of  his  color, 
but  altogether  it  may  be  safely  said,  that  he  well  maintained  the 
reputation  of  Flemish  art. 

Juvara,  Filippo,  born  at  Messina,  1685.  Studied  at  Rome  under 
Fontana.  He  was  employed  at  Turin  by  the  King  of  Sardinia,  and 
at  Lisbon  by  the  King  of  Portugal.  He  also  travelled  in  France  and 
England.  Philip  V.  invited  him  to  Spain  and  employed  him  first  at 
S.  Ildefonso,  and  afterwards  appointed  him  to  rebuild  the  Alcazar, 
which  had  been  burned  in  1734.  Juvara  was  engaged  in  construct- 
ing a  colossal  model  of  this  edifice,  when  he  died,  in  1736.  The 
model  was  finished  by  Sachetti,  whom  Juvara  had  recommended  on 
his  death-bed.  This  model  may  still  be  seen  at  Buenretiro,  and  is 
composed  of  enough  timber  to  build  an  ordinary  house.  It  was,  in 
the  end,  rejected,  and  another  plan  made  by  Sachetti  for  the  new 
palace,  which  is  now  the  chief  object  to  the  eye  of  the  stranger  ap- 
proaching Madrid. 

Juvenel,  Paul  (1580-1643).  A  painter  of  interiors.  He  was  em- 
ployed at  Nuremburg,  Vienna,  and  Presburg. 


Kabel.     See  Cabel. 

Kager,  Johann  Mathias,  born  at  Munich  (1566-1634).  He 
studied  in  Rome,  and  became  an  eminent  painter.  He  was  much 
employed  by  the  Duke  of  Bavaria,  and  some  of  his  works  are  in  the 
churches  of  Munich.  He  removed  to  Augsburg,  where  he  painted 
his  principal  work,  the  "  Last  Judgment,"  in  the  Hall  of  the  Senate. 
His  pictures  are  known  from  engravings  by  the  Sadelers,  Kilians,  and 
other  engravers.  Kager  also  etched  some  plates  from  his  own  de- 
signs. 

Kalcar.     See  Calcar. 

Kalf,  Willem,  born  at  Amsterdam  (1630-1693).  A  painter  of 
still-life.  He  especially  excelled  in  the  representation  of  elegant 
vases  and  porcelain  vessels.  He  sometimes  painted  kitchen  pieces, 
with  vegetables  and  cooking  utensils  as  prominent  features.  The 
Louvre  and  the  Amsterdam  Mus.  have  one  picture  each  by  this 
master. 


KAUFFMAN  —  KESSEL.  353 

Kauffman,  Maria  Angelica,  born  at  Chur,  in  the  Grisons  (1742- 
1808).  Daughter  of  Joseph  Kauffman,  also  a  painter;  she  received 
her  first  instruction  from  him.  She  was  taken  to  Rome  while  still 
young,  and  had  good  opportunities  for  study  there.  She  was  very 
much  admired  for  her  beauty  and  musical  talents,  as  well  as  for  her 
pictures,  and  these  last  were  in  great  demand.  She  went  to  England, 
where  she  had  a  most  flattering  reception  and  constant  employment, 


STILL-LIFE.      BY  KALF. 

and  was  made  a  member  of  the  Royal  Acad.  She  returned  to  Rome, 
where  she  died.  Her  husband  was  named  Zucchi,  and  her  marriage 
was  unhappy.  She  first  painted  portraits,  and  later  in  life,  historical 
subjects.  Her  pictures  possess  no  striking  merit,  though  many  of 
them  are  very  agreeable ;  neither  have  they  glaring  faults ;  therefore 
she  should  have  a  middle  rank,  not  meriting  fully  the  extreme  praise, 
or  severe  criticism,  which  have  been  bestowed  on  her.  Her  works 
are  seen  in  many  English  collections,  and  in  some  of  the  large  Conti- 
nental galleries.  She  also  made  etchings  from  her  own  designs,  and 
after  the  works  of  other  artists.  They  were  executed  with  spirit  and 
grace. 

Kerkhove,  Joseph  Van  der,  born  at  Bruges  (1669-1 724).  Pupil 
of  the  younger  Qucllinus.  He  resided  some  years  in  France,  and  on 
his  return  to  Bruges  received  more  commissions  than  he  could  exe- 
cute. His  pictures  may  be  seen  in  the  churches  of  his  native  city, 
and  at  Ostrnd  he  painted  the  ceiling  of  the  Town  Hall. 

Kessel,  Van.  There  were  several  artists  of  this  name.  One  Jan 
23 


354  KESSEL  —  KING. 

(born  1626)  painted  his  backgrounds  very  bright  like  Paul  Brill,  and 
his  son  Ferdinand  (1660-1696)  followed  his  style,  but  did  not  equal 
his  father.  Another  Jan  (died  1 708)  painted  in  the  manner  of  Jacob 
Ruysdael  with  much  power,  but  his  works  are  scarce.  There  was 
also  Nicholas  (born  1684),  who  painted  in  the  style  of  Teniers,  and 
Theodore  (born  1620),  an  engraver  whose  plates  are  etched  with 
freedom  and  spirit. 

Ketel,  Cornells,  born  at  Gouda  (1548-1602).  A  reputable  por- 
trait painter.  He  went  to  England  and  painted  Queen  Elizabeth, 
and  many  other  persons.  He  also  painted  the  Company  of  Marks- 
men of  Amsterdam,  and  other  groups. 

Keulen  or  Ceulen,  Jansous  Van.  Said  to  have  been  born  in 
England  of  Dutch  parents.  He  was  a  good  portrait  painter  of  the 
time  of  Charles  I.,  and  it  is  probable  that  many  portraits  now  in  Eng- 
land, and  attributed  to  Vandyck,  were  by  Van  Keulen. 

Keux,  John  Le,  born  in  London  (1783-1846).  An  eminent  archi- 
tectural engraver.  He  executed  plates  for  many  fine  works,  among 
which  are  Neale's  Westminster  Abbey;  Britton's  Architectural  An- 
tiquities, Cathedrals,  etc.;  and  the  first  volume  of  Neale's  Churches. 

Keyser,  Theodor  de.  Flourished  1625-1660.  Very  little  is 
known  of  him,  but  he  left  some  good  portraits,  large  and  small. 
One  of  the  latter  is  in  the  National  Gall.  An  Archery  Company  is 
in  the  new  Hotel  de  Ville  at  Amsterdam,  and  at  the  Hague  there  is 
a  fine  work' representing  the  "  Burgomasters  of  Amsterdam  Deliber- 
ating upon  the  Reception  of  Mary  deMedicis,"  in  1638. 

Keyzer,  Henry  de.  A  portrait  painter  whose  works  are  in  the 
Amsterdam  Mus. 

Kierings  or  Cierincx,  James,  born  at  Utrecht  (1580-1646).  A 
painter  of  landscapes  in  which  Poelemburgh  was  accustomed  to  paint 
the  figures.  He  went  to  England,  and  was  employed  by  Charles  I. 
to  make  views  of  his  country  houses. 

Kilian.  Zani  mentions  twenty  engravers  of  this  name.  Lucas 
Kilian  was  the  first  of  a  family  of  them  who  flourished  from  1600  to 
1750.  He  was  the  pupil  of  Dominic  Gustos,  and  also  studied  in  Italy. 
His  son  Wolfgang,  and  his  grandsons  Philip  and  Bartholomew,  were 
also  engravers;  and  another,  named  Wolfgang  Philip,  and  still 
another,  Philip  Andrew,  were  of  the  same  family.  Lucas  and  Bar- 
tholomew were  eminentj  and  their  works  are  much  admired. 

King,  Charles  B.,  born  at  Newport,  Rhode  Island  (1786-1862). 
This  artist  lived  at  Washington  in  the  winter,  and  his  studio  con- 
tained many  portraits  which  are  valuable  as  likenesses  rather  than  as 
works  of  art.  This  is  especially  true  of  some  portraits  of  Indians. 
He  was  a  lover  of  art,  and  donated  several  thousand  dollars  and  some 
pictures  to  Redwood  Library,  Newport,  and  left  a  sum  of  money,  the 
interest  of  which  is  expended  for  musical  instruction  in  the  public 
schools  of  his  native  city. 


KISS  —  KOBELL.  355 

Kiss,  Augustus,  born  at  Pless  (1802-1865).  Educated  at  Berlin. 
This  sculptor  executed  a  great  number  of  busts,  groups,  figures,  and 
bas-reliefs  in  stone,  bronze,  and  plaster.  He  also  copied  the  works 
of  antiquity,  and  those  of  the  sculptor  Schinkel,  after  whose  designs 
he  made  the  reliefs  for  the  gable  cuds  of  the  ch.  of  S.  Nicholas,  in 
Potsdam.  His  first  great  work  was  the  "  Amazon  Struggling  with  a 
Panther,"  now  in  the  Berlin  Mus.  This  established  his  reputation 
everywhere.  His  otheV  important  statues  are  those  of  Frederick  the 
Great,  Frederick  William  HI.,  and  the  group  of  "  S.  Michael  and  the 
Dragon."  His  works  are  much  admired,  but  he  sometimes  sacrifices 
good  taste  to  energy  of  action. 

Klerck,  Henry  de,  born  at  Brussels,  1570.  Pupil  of  Martin  de 
Vos.  His  pictures  arc  seen  in  some  of  the  churches  of  Brussels,  and 
throughout  the  Low  Countries.  They  have  considerable  merit. 

Klomp,  Albert.  Flourished  1602-1622.  His  landscapes  are 
sometimes  mistaken  for  those  of  Paul  Potter.  One  of  these  is  in  the 
Brussels  Gall. 

Kneller,  Sir  Godfrey,  born  at  Lubeck  (1646-1723).  A  rival  of 
Lely  in  portraiture.  He  had  the  honor  of  painting  eight  crowned 
heads,  and  an  almost  innumerable  number  of  other  persons.  He 
studied  under  Rembrandt,  Bol,  Carlo  Maratti,  and  Bernini.  His 
pictures  are  full  of  mannerism.  There  are  two  very  distinct  opinions 
of  his  excellence,  some  admiring  him  very  much,  and  others  criticis- 
ing him  with  great  severity.  He  painted  very  rapidly  and  often 
prostrated  his  talent  for  the  sake  of  gain,  but  his  carefully  finished 
works  show  what  he  might  have  done,  had  he  regarded  fame  more 
and  money  less.  His  design  Avas  correct,  and  he  was  especially  skil- 
ful in  painting  the  hair.  His  groups  of  children  are,  perhaps,  his 
best  works,  and  some  pictures  in  which  he  has  represented  his  female 
sitters  as  Madonnas,  have  considerable  merit.  A  monument  to  his 
memory  was  executed  by  Rysbrach,  and  placed  in  Westminster 
Abbey. 

Knoller,  Martin,  born  at  Steinach  in  the  Tyrol;  died  1804. 
Pupil  of  Troger  in  Vienna,  and  Raphael  Mengs  at  Rome.  He  be- 
came one  of  the  best  German  historical  painters.  He  worked  in  both 
oil  and  fresco.  He  excelled  in  depicting  violent  action.  His  color 
is  best  in  his  frescoes.  His  works  are  in  the  convent  of  Ettal  and  in 
that  of  Gries  in  the  Tyrol;  in  the  Town  Hall  of  Munich  and  in  the 
Gall,  of  that  city;  and  in  the  Vienna  Gall,  there  is  a  portrait  of 
Jos.-ph  Rosa,  a  former  director  of  that  gallery. 

Kobell,  Ferdinand,  born  at  Manheim  (1 740-1 799).  A  good  land- 
scape painter  and  engraver.  His  etchings  number  more  than  230. 

Kobell,  William,  born  at  Manheim  (1766-1834  ?).  Son  of  the 
preceding.  He  also  painted  landscapes,  and  engraved.  His  etchings 
and  aqua-tint,  engravings  are  much  esteemed. 

Kobell,  Franz,  born  at  Manheim  (1749-1822).     Said  to  have  ex- 


356  KOBELL  —  KRAFFT. 

ecuted  more  than  10,000  pen  sketches  and  drawings  of  landscapes 
and  buildings. 

Kobell,  Hendrik,  born  at  Rotterdam  (1751-1782).  A  painter  of 
marine  subjects  which  were  well  esteemed. 

Kobell,  Jan,  born  at  Utrecht  (1782-1814).  A  son  of  the  preced- 
ing, and  a  good  painter  of  animals.  His  pictures  are  much  esteemed. 
He  also  left  a  few  etchings  and  drawings.  The  latter  are  very  valu- 
able. 

Kobell,  Jan,  Jr.,  born  at  Rotterdam  (1800  7-1838).  Cousin  of 
the  preceding.  A  cattle  and  landscape  painter.  His  paintings  and 
drawings  are  very  valuable. 

Koninck,  or  Coninck,  David  de,  born  at  Antwerp  (1636-1687). 
Pupil  of  Jan  Fyt,  and  also  a  painter  of  hunts,  animals,  and  kindred 
subjects.  He  was  powerful  in  color,  animated  in  conception,  and 
masterly  in  touch.  His  works  are  rare.  There  are  two  excellent 
ones  in  the  Amsterdam  Mus. 

Koning,  Salomon,  born  at  Amsterdam  (1609-1674?).  An  imi- 
tator of  the  manner  of  Rembrandt.  He  so  closely  followed  that  mas- 
ter that  his  pictures  were  often  mistaken  for  his,  though  there  is  an 
inferiority  manifest  to  one  experienced  in  judgment.  Koning  painted 
a  variety  of  subjects,  and  his  works  are  seen  in  some  English  gal- 
leries, and  the  Berlin  Mus.  He  also  etched  some  plates  which  are 
decidedly  Rembrandtish  in  effect,  and  are  executed  with  a  very  light 
point. 

Koningh,  Philip  de,  born  at  Amsterdam  (1619-1689).  One  of 
the  best  scholars  of  Rembrandt.  He  painted  portraits  and  land- 
scapes. The  latter  are  especially  fine,  and  very  valuable  from  their 
rarity  and  excellence.  His  finish  and  impasto  are  admirable;  his 
color  warm  and  clear,  and  the  sense  of  distance  which  he  gives  is 
very  fine.  His  works  were  adorned  with  figures  by  Lingelbach,  and 
with  animals  by  Dirk  van  Bergen.  Some  of  his  finest  works  are  in 
private  English  collections.  The  Amsterdam,  Hague,  and  Arem- 
berg  galleries  have  specimens;  the  latter  is  a  chef-d'oeuvre.  In  the 
Painters'  Gall,  at  Florence  there  is  a  fine  portrait  of  himself. 

Krafft,  Adam.  An  old  sculptor  of  Nuremberg,  believed  to  have 
been  born  there  about  1430;  he  died  at  the  Hospital  of  Schwabach 
in  1507.  His  early  history  is  unknown.  His  first  works  in  Nurem- 
berg are  the  gable  over  the  entrance  hall  of  the  Frauenkirche,  1642, 
and  the  Seven  Stages  (at  which  Christ  fainted  under  the  cross),  on 
the  way  to  the  Johannis  Cemetery.  The  first  gives  no  promise  of  his 
later  excellence,  but  the  latter  are  full  of  strong  expression.  The  city 
of  Nuremberg  (especially  the  ch.  of  S.  Sebald)  is  rich  in  the  sculp- 
tures of  Krafft.  He  had  great  power  of  conception,  and  while  there 
was  a  certain  stoutness  to  his  figures  which  was  coarse,  he  gave  a 
touching  expression  to  the  face,  and  sometimes  reached  a  depth  of 
feeling  amounting  to  inspiration.  That  he  could  well  represent  the 


KRAFFT  —  KUPETZKY. 


357 


ordinary  events  of  life  is  seen  in  the  relief  of  the  "  Public  Scales,"  in 
which  the  weigher  stands  observing  the  beam.  Beneath  it  is  written, 
"  To  thyself  as  to  others."  Another  man  adds  a  weight  to  one  scale, 
and  the  merchant  who  is  to  be  taxed  puts  his  hand  reluctantly  into 
his  money  bag.  A  "  Burial  of  Christ,"  in  a  chapel  of  the  above- 
named  cemetery,  is  said  to  have  been  his  latest  work,  and  executed  in 
1507.  From  1496  to  1500  he  was  employed  upon  the  Stone  Sacra- 
mentsgehause  for  the  ch.  of  S.  Lawrence.  This  is  one  of  his  most 
artistic  works,  and  is  62  feet  in  height.  The  lower  structure  is  sup- 
ported by  the  kneeling  figures  of  Krafft  and  two  of  his  associates.  A 
slender  Gothic  pyramid  rises  from  this,  adorned  with  bas-reliefs  and 


ONE  OF  THE  SEVEN  STAGES  OF  THE  PASSION  OF  CHRIST.      BY  ADAM   KRAFFT. 

statuettes.  He  was  very  industrious,  and  used  his  left  hand  as  readily 
as  his  right.  He  was  accustomed  to  spend  his  holidays  in  drawing 
with  Peter  Vischcr,  whose  works,  together  with  his  own,  render  Nu- 
remberg a  place  of  great  interest. 

Krug  or  Krugen,  Lucas,  called  the  "  master  of 
the  pitcher  "  from  his  mark  of  the  letters  L.  K.  with 
a  pitcher  between  them.  His  plates  are  very  rare, 
and  very  good  for  the  time  in  which  he  worked? 


/  5  '  6 


about  1516. 

Kupetzky,  Johann,  born  in  Upper  Hungary  (1666-1740).  He 
studied  with  the  Swiss  painter  Klaus,  but  a  long  residence  in  Italy 
had  threat  effect  on  his  style.  He  painted  historical  subjects  and 
portraits,  and  the  latter  became  very  popular  in  Vienna;  they  are, 


358  KUPETZKY  —  LAGUERRE. 

however,  somewhat  affected  in  design.  Few  of  his  works  are  seen 
in  public  galleries.  There  are  specimens  in  those  of  Vienna  and 
Berlin.  He  was  painter  to  the  Emperor  Joseph  I.,  and  was  invited 
to  England  by  George  II.,  but  declined  to  go  on  account  of  his 
health. 

L. 

Laer,  Pieter  van,  born  at  Laaren  (1613-1675).  He  went  to 
Rome  while  still  young,  and  was  called  there  Bamboccio,  on  account 
of  his  singular  form.  He  remained  sixteen  years  in  Rome,  and  was 
the  friend  of  Claude  and  the  Poussins.  He  painted  all  sorts  of  sub- 
jects, but  more  especially  peasants  with  their  cattle.  He  also  repre- 
sented peculiar  effects  of  light  and  shade,  such  as  moonlight  on  one 
side,  and  a  torch -light  on  the  other.  His  drawing  was  good,  and  the 
hands  and  feet  sometimes  finished  with  great  delicacy.  His  color  is 
at  times  clear,  but  many  of  his  pictures  are  dark  and  smoky.  His 
works  are  rare.  They  may  be  seen  in  the  Louvre,  Dresden,  Vienna, 
and  Cassel  galleries.  Those  in  the  latter  collection  are  fine  speci- 
mens. Van  Laer  also  etched  twenty  plates,  mostly  of  animals;  they 
are  well  executed,  but  his  horses  are  badly  drawn. 

Lafoiid,  Charles  Nicholas  Raphael,  born  at  Paris,  1727.  Pupil 
of  Regnault.  He  is  well  considered  among  modern  French  artists. 
His  works  are  numerous,  and  are  seen  in  both  public  and  private 
collections.  His  subjects  are  various;  poetical,  Scriptural,  and  his- 
torical. 

Lafosse,  Charles  dela,  born  at  Paris  (1636-1716).  Pupil  of  Le 
Brun.  He  distinguished  himself  by  his  works  at  the  "  Invalides." 
He  went  to  England,  where  he  was  well  received  and  employed.  His 
easel  pictures  are  superior  to  his  decorative  works.  He  was  Chancel- 
lor of  the  French  Acad.  at  the  time  of  his  death. 

Lagrene*e,  Louis  Jean  Francois,  born  at  Paris  (1724-1805).  Pu- 
pil of  Carl  Vanloo.  He  obtained  a  prize  and  was  sent  to  Rome  with 
a  pension,  when  quite  young.  After  his  return  to  Paris  his  reputa- 
tion caused  him  to  be  appointed  director  of  the  Acad.  of  S.  Peters- 
burg. In  1781  he  was  made  director  of  the  French  school  at  Rome, 
and  there  executed  his  best  works,  most  of  which  have  been  en- 
graved. His  subjects  are  from  sacred  and  profane  history,  and  from 
the  ancient  poets.  Napoleon  gave  him  the  cross  of  the  Legion  of 
Honor,  and  at  the  time  of  his  death  he  was  Professor-Rector  of  the 
School  of  Fine  Arts,  and  honorary  conservator  and  administrator  of 
the  Museum. 

Laguerre,  Louis,  born  in  Paris  (1663-1721).     Pupil  of  Le  Brun. 
He  went  to  England  and  assisted  Verrio.     They  painted  many  halls 
and  staircases.     Pope  mentions  both  these  artists  thus  :  — 
"  Where  sprawl  the  saints  of  Verrio  and  Laguerre." 


LAIRESSE  —  LANINI.  359 

Lairesse,  Gerard  de,  born  at  Liege  (1640-1711).  He  has  been 
called  the  Poussin  of  Belgium,  and  he  was  indeed  an  imitator  of 
Niccolo  Poussin,  but  he  imitated  him  from  a  distance.  His  pictures 
arc  frequently  cold  in  color,  and  when  warm  they  are  heavy.  His 
execution  is  careful;  his  heads  are  in  imitation  of  the  antique  profile, 
and  somewhat  monotonous;  his  figures  are  affected  and  frequently 
too  short.  He  was  most  unsuccessful  in  Biblical  subjects.  His  works 
may  be  seen  in  the  Louvre,  Berlin,  and  Cassel  galleries.  He  etched 
a  large  number  of  plates  from  his  own  designs,  with  spirit  and  free- 
dom, and  his  lights  are  so  arranged  that  the  eye  is  immediately  fixed 
on  the  principal  figure. 

Lambert,  George  (1710-1775).  An  English  landscape  painter. 
Some  of  his  pictures  were  painted  in  conjunction  with  Hogarth. 
Some  of  his  landscapes  are  small,  brilliant  in  color,  and  the  trees  are 
agitated  byxthc  wind. 

Lana,  Ludovico,  born  at  Modena  (1597-1646).  He  painted  many 
religious  subjects.  His  female  figures  are  fine,  and  his  landscape 
backgrounds  very  good.  His  works  are  best  studied  in  his  native 
city. 

Lancret,  Nicholas,  born  at  Paris  (1690-1743).  An  imitator  of 
Watteau  in  his  choice  of  subjects.  His  peasants  courting,  his  women 
and  children,  are  all  well  done,  and  his  landscapes  are  pleasing.  His 
interiors  are  well  managed,  and  the  accessories  not  too  prominent. 
His  handling  is  more  broad  and  free  than  that  of  most  painters  of 
this  class  of  pictures. 

Landini,  Taddeo.  The  sculptor  of  the  Fontana  della  Tartarughe, 
in  Rome,  executed  in  1585. 

Lanfranco,  Gio.,  born  at  Parma  (1581-1647).  One  of  the  latest 
noticeable  pupils  of  the  Carracci.  His  best  works  were  cupola  paint- 
ings, and  of  these  those  of  S.  Andrea  della  Valle  in  Rome  and  the 
Tesoro  in  Naples  are  the  best.  His  greatest  merit  is  in  his  color; 
he  is  a  mere  machinist,  introducing  abrupt  lights  and  shades,  unnec- 
essary foreshortenings,  faces  without  expression,  and  groups  arranged 
entirely  according  to  precepts  rat  her  than  nature.  And  yet  he  was 
one  of  the  best  of  the  painters  of  this  class.  When  his  subject  al- 
lowed a  merely  naturalistic  conception,  he  succeeded  best.  Among 
his  finest  works  are  "  S.  Louis  feeding  the  Poor,"  in  the  Acad.  of 
Venice,  and  the  "  Liberation  of  S.  IVter."  in  the  Colonna  Pal.  at 
Rome.  His  "  S.  Cecilia,"  in  the  l>arl>erini  Pal.,  is  one  of  his  worst 
productions.  He  also  executed  a  number  of  etchings  in  a  masterly 
manner. 

Lanini,  Bernardino,  born  at  Vercelli  (about  1508-1578).  Pupil 
of  Gaudenzio  Ferrari  and  an  imitator  of  Correggio.  His  chief 
excellence  was  in  his  delicate  chiaro-scuro.  His  best  works  were  his 
frescoes,  and  of  these  may  be  mentioned  the  Sibyls  and  other  works 
in  the  Catli.  of  Novara.  One  of  his  pictures  is  in  the  National  Gall., 
London.  He  was  much  employed  at  Milan. 


360  LAPO  —  LAWRENCE. 

Lapo,  Arnolfo  (1232-1300).  A  Florentine  architect.  His  re- 
maining works  attest  his  skill.  Among  them  are  the  Cath.  of  S.  Ma- 
ria del  Fiore  at  Florence ;  the  marble  tribune  in  S.  Paolo  at  Rome, 
and  the  tomb  of  Card.  Bruges  in  S.  Domenico  at  Orvieto. 

Largilliere,  Nicholas,  born  in  Paris  (1656-1746).  Pupil  of  An- 
toine  Goubeau.  He  painted  a  variety  of  subjects.  He  was  received 
into  the  French  Acad.  on  account  of  his  portrait  of  Charles  le  Brun, 
which  was  engraved  by  Edelinck.  He  went  twice  to  England,  and 
was  for  some  time  the  assistant  of  Sir  Peter  Lely.  He  often  painted 
landscapes,  animals,  and  still-life,  and  used  these  subjects  as  acesso- 
ries  to  his  figure  pictures. 

Lasiiiio,  II  Conte  Cavaliere  Carlo,  born  at  Trevigi,  1757.  An 
excellent  modern  engraver.  He  made  many  engravings  for  books, 
illustrating  the  works  of  the  old  painters,  such  as  "  L'Etruria  Pittrice," 
the  "  Remains  of  the  Campo  Santo  at  Pisa,"  and  the  "  Storia  della 
Pittura  Italiana. " 

Lasne,  Michael  (1595-1667).  This  engraver  was  one  of  the  first 
of  his  country  (France),  who  distinguished  themselves  as  engravers. 
His  works  are  numerous. 

Lastman,  Pieter,  born  at  Haerlem  (1562-1649).  He  studied  in 
Rome,  became  famous,  and  was  summoned  to  Copenhagen  to  deco- 
rate a  church.  His  best  points  were  vigorous  color  and  great  knowl- 
edge of  chiaro-scuro.  Rembrandt  was  once  his  pupil.  He  executed 
some  etchings  from  his  own  designs,  which  are  now  rare. 

Launitz,  Edward  von  der  (1 797-1869).  Disciple  of  Thorwald- 
sen.  He  was  an  earnest  student  of  the  antique,  which  conduced  to 
the  formation  of  his  noble  style.  The  Guttenburg  monument  at 
Frankfort  is  his  most  important  work,  and  is  one  of  the  most  valu- 
able of  all  the  public  monuments  of  Germany.  The  theatre  of  Frank- 
fort was  decorated  by  him,  and  there  are  other  statues  of  his  in  that 
city. 

Lauri,  Filippo,  born  at  Rome  (1623-1694).  He  painted  a  variety 
of  subjects,  and  many  of  his  works  have  been  engraved  by  English 
engravers.  His  bacchanals  are  his  best  pictures.  He  was  on  the 
whole  a  pleasing  painter,  and  the  figures  which  he  added  to  the  land- 
scapes of  other  artists  were  much  admired. 

Lawrence,  Sir  Thomas,  born  at  Bristol  (1769-1830).  This  re- 
markable portrait  painter  commenced  his  career  as  an  artist  by  mak- 
ing sketches  in  chalk  when  little  more  than  a  baby,  and  when  ten 
years  old  was  really  a  painter  in  crayons  at  Oxford.  He  used  oil 
colors  at  seventeen,  and  in  1791,  though  younger  than  the  age  re- 
quired by  law,  he  was  made  an  associate  of  the  Acad.  After  the 
death  of  Sir  Joshua  Reynolds  he  was  appointed  painter  to  the  King, 
and  was  but  twenty-two  when  he  painted  portraits  of  the  King  and 
Queen.  He  was  elected  a  Royal  Academician  in  1794,  was  knighted 
in  1815,  and  became  the  President  of  the  Acad.  in  1820.  He  was 


LAWRENCE  —  LELY.  361 

also  a  member  of  many  foreign  academies,  and  a  Chevalier  of  the 
Legion  d'Honneur.  The  Waterloo  Gall,  at  Windsor  is  a  splendid 
monument  to  his  memory.  There  are  very  opposite  opinions  of  his 
merits  as  a  painter.  By  many  he  is  admired,  and  by  many  he  is  ac- 
cused of  having  founded  an  ' '  evil  style,"  and  encouraged  all  sorts  of 
mannerisms  and  faults.  As  usual,  there  is  truth  on  both  sides.  His 
early  works  are  the  most  satisfactory ;  they  are  rich  in  color  and  well 
arranged.  His  sketches  of  heads,  with  the  canvas  about  them  un- 
touched, are  very  fine,  and  seem  to  have  been  done  almost  instantly, 
and  never  to  have  been  retouched.  He  was  so  much  the  fashion  that 
he  was  forced  to  found  a  school,  and  many  of  the  pictures  called  his 
were  mostly  executed  by  others.  His  portraits  of  women  and  chil- 
dren are  far  better  than  those  of  men. 

Lazzarini,  Gregorio,  born  at  Venice  (1655-1730).  At  first  a 
barber's  apprentice,  he  became  a  distinguished  painter,  and  has  been 
called  the  "  Raphael  of  the  Venetian  School."  His  works  may  be 
seen  in  his  native  city. 

Leal,  Don  Simon  de  Leon,  born  at  Madrid  (1610-1687).  Pupil 
of  Pedro  de  las  Cuevas.  He  was  distinguished  for  his  historical  sub- 
jects and  portraits,  and  was  appointed  court  painter.  His  works  are 
still  seen  in  Madrid. 

Lebrun,  Jean-Baptiste  Topino.  This  artist  was  condemned  to 
death  in  1801  on  account  of  a  conspiracy  against  the  First  Consul. 
His  picture  of  the  "  Death  of  Gains  Gracchus  "  was  purchased  for  the 
Mus.  of  Marseilles,  his  native  city. 

Lebrun,  Madame  E.  L.  Pupil  of  Joseph  Vernet  and  Greuze,  and 
a  good  portrait  painter.  She  was  a  member  of  eight  academies  be- 
sides that  of  France.  She  also  painted  some  half  allegorical  subjects. 

Lecomte,  Felix,  born  at  Paris  (1737-1817.)  A  sculptor  who 
gained  the  grand  prize,  visited  Rome  with  the  royal  pension,  and 
returned  to  Paris  to  make  a  good  reputation.  He  was  Professor  in 
the  Acad.  of  Sculpture,  before  his  death.  His  statue  of  Fene"lon  in 
the  Hall  of  the  Institute,  is  considered  his  masterpiece. 

Leeuw.  Bryan  gives  an  account  of  five  painters  and  engravers 
of  this  name,  none  of  whom  were  very  celebrated.  They  all 
flourished  in  the  last  half  of  the  1 7th  century.  Peter  van  der  Leeuw 
imitated  Adrian  van  de  Velde  with  good  success. 

Lefevre  or  Fevre,  Claude,  born  at  Fontainebleau  (1633-1675). 
Portrait  painter. 

Lefevre,  Robert,  born  at  Bayeux  (1 756-1831).  Painted  portraits 
and  fancy  pictures.  One  of  his  works  in  the  Louvre  is  signed, 
Robert  le  Fevre  jnvt.  et  pxit. 

Lelie,  Adrien  de,  born  at  Tilbourg  (1755-1820).  He  painted 
portraits  and  cabinet  pictures,  which  are  much  prized  in  Germany 
and  Holland,  and  are  seen  in  the  best  collections. 

Lely,  Sir  Peter.      Real  name  Peter  van  der  Faes,  born  at  Soest, 


362  LELY  —  LENAIN. 

in  Westphalia  (1618-1680).  He  went  to  England  and  became  the 
most  celebrated  portrait  painter  after  Vandyck.  His  "  Beauties  at 
Hampton  Court"  are  too  well  known  to  require  mention.  He  has 
been  accused  of  mannerism  in  the  treatment  of  the  eye,  but  the  ladies 
of  his  time  affected  the  appearance  which  he  gives  :  "  The  sleepy 
eye  that  spoke  the  melting  soul."  His  pictures  of  men  are  not  equal 
to  those  of  women.  The  backgrounds  of  many  of  his  works  were 
painted  by  others.  He  was  knighted  by  Charles  II.,  and  became 
very  rich.  He  painted  a  portrait  of  Cromwell,  who  said  to  him, 
"  Mr.  Lely,  I  desire  you  will  use  all  your  skill  to  paint  my  picture 
truly  like  me,  and  not  flatter  me  at  all;  but  remark  all  these  rough- 
nesses, pimples,  warts,  and  everything  as  you  see  me,  otherwise  I  will 
never  pay  you  a  farthing  for  it."  There  are  a  few  historical  pic- 
tures by  Lely  in  private  collections  in  England.  He  also  etched  a 
plate  of  a  "  Shepherd  and  Shepherdess."  He  was  buried  in  Covent 
Garden,  where  there  is  a  monument  to  his  memory,  with  his  bust  by 
Gibbon. 

Lembke,  Johann  Philip,  born  at  Nuremberg  (1631-1713).  A 
painter  of  military  subjects.  His  color  was  clear  and  vigorous,  his 
conception  spirited,  and  his  execution  free.  His  principal  works  are 
in  Stockholm,  where  he  was  summoned  as  court  painter,  but  there  is 
a  fine  "  Skirmish  "  in  the  Gall,  at  Vienna. 

Lemoine,  Francois,  born  at  Paris  (1688-1737).  One  of  the 
finest  decorative  painters  of  France.  He  advanced  rapidly  in  his 
youth,  and  became  a  professor  of  the  Acad.  in  1733.  He  had  visited 
Italy  in  1724  for  the  first  time,  and  on  his  return,  painted  his 
"  Apotheosis  of  Hercules."  This  work  is  in  oil  upon  canvas,  64  by 
54  feet  in  size.  The  clouds  which  form  the  base  or  ground  of  the 
picture  cost,  it  is  said,  10,000  francs  for  ultramarine.  There  are  142 
figures  in  it,  and  it  is  probably  the  most  magnificent  pittura  di  mac- 
china  of  the  decorative  period  in  which  it  was  executed.  It  was  fixed 
to  the  ceiling  of  the  Salon  d'Hercule,  at  Versailles.  On  account  of 
it,  Louis  XV.  appointed  Lemoine  painter  to  the  King,  but  did  nofc 
give  him  all  the  ancient  honors  of  that  office.  This  fact,  together 
with  adverse  criticisms  of  other  artists,  and  the  death  of  his  wife, 
brought  on  an  insanity,  in  which  he  took  his  own  life  about  ten 
months  after  the  completion  of  this  great  picture. 

Lempereur.  This  the  name  of  several  French  engravers,  of 
whom  Louis  Simon  (1725)  was  the  most  eminent.  He  was  a  mem- 
ber of  the  Acad. ,  and  his  plates  are  excellent  in  their  execution. 
His  wife,  Catherine  Elizabeth,  was  also  a  good  engraver. 

Lenain,  Louis,  Antoine,  and  Mathieu.  These  three  brothers 
are  scarcely  distinguishable  in  their  works,  for  the  simple  name  of 
Lenain  is  common  to  all.  They  painted  genre  subjects  and  were 
good  portrait  painters,  especially  in  miniature.  They  were  all  mem- 
bers of  the  Acad.  Louis  and  Antoine  died  1648,  and  Mathieu  in 
1677,  at  a  great  age.  Their  works  are  in  the  Louvre. 


LENS  —  LEPRINCE.  363 

Lens,  Andries  Cornelia,  born  at  Antwerp  (1739-1822).  A 
painter  of  little  merit,  as  may  be  seen  by  his  pictures  in  the  Antwerp 
and  Brussels  museums.  But  he  may  be  remembered  as  having 
scorned  to  be  a  member  of  S.  Luke's  Guild  of  Painters  in  Antwerp, 
and  on  his  recommendation,  this  ancient  society,  to  which  Rubens 
and  Quentin  Massys  had  belonged,  was  dissolved. 

Leochares,  sculptor  of  Athens.  Flourished  about  B.C.  372-338. 
His  masterpiece  was  the  "  Rape  of  Ganymede."  Pliny  says  he  made 
the  eagle  appear  sensible  of  the  value  of  the  treasure  he  was  bearing 
and  to  whom  he  bore  it,  so  that  he  was  careful  not  to  wound  the 
boy  with  his  talons.  The  original  was  in  bronze,  but  has  been  copied 
on  gems  and  in  marble  frequently.  The  best  existing  one  is  half 
life-size,  of  marble,  in  the  Museo  Pio-Clementino.  The  one  in  the 
library  of  S.  Marco,  in  Venice,  is  less  well  preserved.  These  are  all 
imperfect,  but  give  an  idea  of  the  refined  sensuality  and  grace  which 
characterized  Grecian  art  of  this  period.  He  also  made  a  statue  of 
Autolycus,  probably  on  account  of  his  great  beauty.  There  are 
several  other  mythological  subjects  and  some  celebrated  portrait 
statues  mentioned  among  the  works  of  Leochares. 

Leonardo,  Juseppe  (1616-1656).  A  Spanish  painter  of  historical 
subjects.  He  was  poisoned,  it  is  supposed  by  his  rivals.  Some  of 
his  finest  works  are  in  the  Queen  of  Spain's  Gall. 

Leonbruno,  Lorenzo,  born  at  Mantua,  1489.  An  important  ar- 
tist in  his  time.  Most  of  his  works  are  lost,  but  three  remain  at 
Mantua,  and  are  praised  by  Codde. 

Leoni  or  Lioni,  Cavaliere  Ottavio,  born  at  Rome  (about  1575- 
1628).  A  very  distinguished  portrait  painter,  and  president  of  the 
Acad.  of  S.  Luke.  He  also  painted  altar-pieces  for  several  churches 
of  Rome.  He  etched  about  twenty  plates  in  a  style  peculiar  to  him- 
self, but  very  pleasing.  The  faces  are  dotted ;  the  shadows  are  as- 
sisted with  strokes,  and  the  draperies  and  hair  are  of  strokes.  Leoni 
was  also  called  Padovinano,  and  U  Cav.  Padovano,  on  account  of  his 
family,  which  was  of  Padua. 

Leopardo,  Alessaiidro.  Venetian  sculptor.  Flourished  about 
1490.  After  the  death  of  Verocchio,  Leopardo  finished  the  statue  of 
Bartolommeo  Calleoni,  in  front  of  the  ch.  of  S.  Giovanni  e  Paolo,  Ven- 
ice. The  monument  in  the  choir  of  the  same  church,  to  the  memory 
of  the  Doge  Andrea  Vendramin,  is  also  the  work  of  Leopardo,  who 
was  employed  with  the  Lombard!  to  decorate  the  chapel  of  Card.  Zeno 
in  S.  Marco.  He  executed,  lastly,  the  three  bronze  standard-bearers 
in  the  square  of  S.  Mark.  He  was  at  the  head  of  a  large  atelier,  and 
together  with  his  pupils  did  many  works. 

Leprince,  Jean  Baptiste,  born  at  Metz  (1733-1781).  Pupil  of 
Boucher.  Spent  some  years  in  Russia.  Painted  landscapes  and  in- 
teriors. He  was  also  an  engraver  in  aqua-tinta,  and  published  the 
"  Traite  de  la  Gravure  au  Lavis." 


364  LEPEINCE  —  LEUTZE. 

Leprince,  A.  Xavier,  died  1826.  Painted  fairs.,  festivals,  etc.,  so 
well  that  they  have  been  placed  in  the  best  collections. 

Leslie,  Charles  Robert.  Son  of  American  parents,  born  in 
Clerkenwell  (1794-1859).  He  was  early  taken  to  Philadelphia,  and 
when  old  enough  was  apprenticed  to  a  bookseller.  In  1811  he  re- 
turned to  England  and  entered  the  Royal  Acad.  He  had  some  in- 
structions from  Allston  and  West.  His  first  works  were  portraits, 
but  later  he  painted  a  high  class  of  genre  subjects.  His  first  impor- 
tant picture  was  "  Sir  Roger  de  Coverley  going  to  Church,"  which 
was  well  received,  and  repeated  for  the  Marquis  of  Lansdowne. 
There  is  a  repetition  of  his  "  Sancho  Panza  and  the  Duchess,"  in 
the  National  Gall.  In  1826  he  was  elected  to  the  Acad.,  and  seven 
years  later  was  appointed  Professor  of  Drawing  at  West  Point.  He 
remained  there  but  a  short  time,  and  returned  to  England.  After 
this  he  did  many  works  excellent  in  everything  but  color.  He  was 
made  professor  at  the  Royal  Acad. ,  and  his  lectures  were  published 
and  called  "  A  Hand-book  for  young  Painters."  He  also  wrote 
the  "  Life  of  Constable."  His  works  are  best  seen  in  the  Sheep- 
shanks Coll. 

Lethiere,  Guillaume  Guillen  (1760-1831  ?).  This  artist  had  a 
cultivated  mind,  and  made  rapid  advance  in  art  until  he  became 
President  of  the  Acad.  at  Rome.  He  chose  such  historical  subjects 
as  were  associated  with  the  overthrow  of  tyranny,  and  the  establish- 
ment of  liberty.  The  "  Judgment  of  Brutus  "  was  much  admired  in 
France  and  England,  where  it  was  also  exhibited.  Lucien  Bona- 
parte was  his  friend,  and  took  some  of  his  works  to  England,  but 
most  of  them  remain  in  France. 

Leu,  Thomas  de,  born  at  Paris  about  1562.  An  excellent  en- 
graver. 

Leutze,  Emmanuel,  born  at  Wiirtemberg  (1816-1868).  His 
father  came  to  America  and  settled  in  Philadelphia.  Emmanuel  de- 
veloped his  artistic  talents  early,  and  in  1841  had  orders  sufficient  to 
warrant  his  going  to  Europe.  He  became  a  pupil  of  Lessing  at  Dus- 
seldorf,  and  soon  acquired  a  name  as  a  painter  of  history.  He 
travelled  extensively  in  Europe,  and  married  a  German  lady.  In  his 
works  we  find  the  result  of  his  admiration  for  Kaulbach.  He  has 
been  severely  criticised,  and  has  afforded  much  opportunity  for  just 
criticism;  at  the  same  time  there  is  great  room  for  admiration  in  the 
boldness  of  his  manner,  his  dramatic  effects,  and  his  technical  skill. 
His  industry  was  great,  and  his  pictures  are  numerous.  The  most 
important  are:  "  Western  Emigration,"  in  the  Capitol  at  Washing- 
ton; "Columbus  at  the  Council  of  Salamanca;"  "Columbus  in 
Chains;  "  "  Columbus  before  the  Queen,"  and  another  of  his  recep- 
tion at  Barcelona;  "  Landing  of  the  Norsemen  in  America;  "  "  Crom- 
well and  his  Daughter;"  the  "  Inconoclast ;  "  "Henry  VIII.  and 
Anne  Boleyn;  "  the  "  Court  of  Queen  Elizabeth;  "  "  Godiva;  "  and 


LEUTZE  —  LEYDEN.  365 

others  of  like  nature.  His  works  are  in  most  private  galleries  in 
New  York,  some  in  Washington,  Baltimore,  etc.  "  Columbus  before 
the  Council  of  Salamanca  "  was  purchased  by  the  Art- Union  of 
Dusseldorf .  His  admirers  are  very  fond  of  him,  and  his  enemies  very 
severe.  The  character  of  Leutze  was  worked  out  in  his  pictures  with 
wonderful  exactness.  He  was  a  hero- worshipper;  he  was  fond  of 
adventure  and  of  wild,  gleeful  fun;  he  was  more  given  to  vivid  sen- 
sation than  to  sentiment  or  refinement;  he  acted  out  Emerson's 
words,  "  There  is  hope  in  extravagance,  there  is  none  in  routine;  " 
he  was  brave  and  cordial,  and  swept  on  to  his  end  with  a  rush,  like 
a  spring  waterfall,  happy  in  freedom  and  in  haste  for  the  end  of  its 
course.  All  this  is  in  his  pictures,  and  while  we  love  the  works  of 
others  more,  we  may  glean  much  pleasure  from  his. 

Leyden,  Lucas  Van.  Real  name  Luc  Jacobez  (1494-1533). 
Pupil  of  Engelbrechtsen,  and  one  of  the  most  remarkable  of  artists, 
He  was  most  important  as  an  engraver,  and  had  made  himself  a 
reputation  at  twelve  years  of  age.  He  also  painted  pictures  and 
carved  in  wood.  He  was  the  friend  of  Albert  Diirer  and  the  asso- 
ciate of  Mabuse.  He  "ed  a  gay  life  with  the  latter,  and  undermined 
his  health  by  his  excesses.  They  made  a  journey  in  a  sloop  fitted 
up  at  Leyden's  expense,  and  went  through  Zealand,  Flanders,  and 
Brabant.  They  gave  entertainments  to  the  artists  in  various  cities, 
and  it  is  to  one  of  these  that  Diirer  referred  when  he  wrote  in  his 
journal,  in  1521,  "  I  was  invited  to  dinner  by  Master  Lucas,  who  en- 
graves on  copper:  he  is  a  little  man,  and  is  a  native  of  Leyden." 
They  exchanged  prints  with  each  other,  and  it  is  said  that  Diirer  ac- 
quired from  Lucas  his  knowledge  of  perspective,  but  in  this  particu- 
lar only  could  Lucas  assist  him;  in  every  other  point  Diirer  was  the 
superior.  The  pictures  of  Lucas  are  rare.  In  the  Town  Plouse  at 
Leyden  there  is  a  "  Last  Judgment,"  which  is  one  of  the  most  impor- 
tant; at  Wilton  House  a  "  Card-party;  "  in  the  Munich  Gall,  of  Cabi- 
nets, a  Virgin  and  Child  with  Mary  Magdalen,  and  a  man  praying; 
and  in  the  Belvedere  at  Vienna  a  portrait  of  the  Emperor  Maximil- 
ian. His  engravings  are  very  scarce  and  valuable.  His  "Eulen- 
spii'.gul  "  is  the  rarest  of  all  prints.  Not  more  than  six  original  im- 
pressions are  in  existence,  though  there  are  many  copies.  This 
represents  a  famous  clown  of  the  14th  century,  and  is  also  called 
u  The  Peasants  Travelling."  Lucas  had  a  great  influence  on  the 
artists  who  followed  him,  and  this  print,  and  others  of  homely  scenes, 
doubtless  did  much  to  decide  Teniers,  the  Ostades,  and  others,  in 
their  choice  of  subjects.  There  was  an  originality  which  character- 
ized all  his  works  from  first  to  last.  His  style  was  his  own,  and  he 
did  not  hesitate  to  dress  all  his  figures  in  the  costume  of  his  time, 
regardless  of  what  he  was  representing.  Thus  he  made  his  works 
a  record  of  manners  and  customs.  His  "  Ecce  Homo  "  is,  artistically 
speaking,  one  of  his  chefs-d'oeuvre,  and  yet  it  is  the  principal  square 


366 


LEYDEN. 


of  a  Flemish  town,  and  the  people  seen  there  in  the  early  part  of  the 
16th  century.  Bartsch  gives  a  list  of  174  of  his  prints;  the  follow- 
ing are  the  principal  ones. 


TEMPTATION   OF    CHRIST.      BY   LUCAS   VAN   LEYDEN. 

A  set  of  six  of  the  Creation  and  Fall  of  Adam  and  Eve.     1529. 

Adam  and  Eve  driven  from  Eden.     1510. 

Cain  and  Abel.     1524. 

Abraham  and  the  Angels. 

Abraham  sending  Hagar  away;  an  early  work;  very  rare. 

The  same  subject,  called  "  The  Little  Hagar. 

Lot  and  his  Daughters;  fine.     1530. 

Set  of  five  of  the  History  of  Joseph.     1512. 

Jephtha  and  his  Daughter. 

Samson  and  Delilah. 

Triumph  of  David. 


LEYDEN.  367 

David  praying,  with  an  Angel  appearing  to  him.     1520. 

David  playing  the  Harp  before  Saul. 

Solomon  worshipping  Idols.     1514. 

Esther  before  Ahasuerus.     1516. 

Susanna  and  the  Elders;  a  very  early  work. 

SS.  Joachim  and  Anne.     1520. 

The  Annunciation. 

The  Visitation. 

Adoration  of  the  Magi;  very  fine.     1513. 

Repose  in  Egypt ;  an  early  work. 

The  Baptism  of  Christ;  many  figures. 

Temptation  of  Christ.     1518. 

Resurrection  of  Lazarus ;  an  early  work. 

Set  of  fourteen  of  the  Passion  of  Christ. 

Set  of  nine  of  same  subject;  circular. 

Ecce  Homo;  very  fine.     1510. 

The  Crucifixion;  one  of  the  best.     1517. 

Christ  appearing  to  Magdalene.     1519. 

The  Prodigal  Son;  fine. 

Virgin  and  Child  with  S.  Anne.     1516. 

Virgin  and  Child  with  Glory  of  Angels. 

Virgin  and  Child  seated  at  the  Foot  of  a  Tree. 

Virgin  and  Child  in  a  Landscape,  with  two  Angels;  verv  fine. 
1523. 

Holy  Family,  with  S.  John  presenting  an  Apple. 

Set  of  thirteen  of  Christ  and  the  Disciples. 

Set  of  four;  the  Evangelists.     1518. 

SS.  Peter  and  Paul;  half  length.     1517. 

Conversion  of  Saul.     1509. 

SS.  Peter  and  Paul  in  a  Landscape.     1527. 

S.  Christopher  bearing  the  Infant  Christ;  very  fine.     1521. 

S.  John  Baptist  in  the  Desert.     1513. 

Decollation  o£  S.  John. 

S.  Jerome,  with  a  Book,  Skull,  and  Lion.     1521. 

Martyrdom  of  S.  Sebastian. 

S.  Anthony  Hermit. 

Temptation  of  S.  Anthony  ;  very  fine.     1509. 

S.  Francis  receiving  the  Stigmata. 

S.  George  and  the  Dragon. 

S.  Mary  Magdalene  in  the  Pleasures  of  the  World ;  called  Mag- 
dalene's Dance;  very  fine  and  extremely  rare. 

Mary  Magdalene  in  the  Desert. 

S.  Catherine;  half  length.     1520. 

The  Monk  Sergius,  who  is  sleeping,  killed  by  Mahomet;  very  fine. 
1508. 

Set  of  seven;  the  Cardinal  Virtues.     1530. 


368  LEYDEN  —  LIBRI. 

Death  of  Lucretia,  sometimes  called  "  The  Death  of  Dido." 

Pyramus  and  Thisbe.     1514. 

Mars  and  Venus.     1530. 

Minerva  seated ;  said  to  be  his  last  plate,  which  he  did  not  quite 
finish. 

The  Standard-bearer. 

A  Young  Man  leading  an  Armed  Company,  listening  to  a  Man  who 
is  speaking,  with  his  Hat  in  his  Hand;  fine. 

An  Old  Man  putting  the  Wedding  Ring  on  the  Finger  of  a  Young 
Woman  ;  very  fine  etching ;  rare. 

An  Old  Woman  with  a  Bunch  of  Grapes. 

The  Musicians.     1524. 

A  Surgeon  performing  an  Operation.     1524. 

The  Quack  Doctor.     1523. 

The  Eulenspiegel;  very  celebrated.     1520. 

Portrait  of  Emperor  Maximilian  I.;  very  fine  and  scarce.     1520. 

Portraits  of  Lucas  Van  Leyden,  inscribed  Effigies  Lucce  Leidensis 
propria  manu  incidere. 

A  Young  Man,  half-length,  with  Cap  and  Feathers,  holding  a 
Skull;  this  is  called  his  own  portrait,  but  does  not  resemble  the 
others. 

Wood-Cuts. 

The  Kings  of  Israel ;  in  chiaro-scuro ;  scarce. 

illustrious  Women  of  the  Old  Testament;  scarce. 

Four  Large  Tournaments;  scarce. 

Liberate,  da  Verona,  born  at  Verona  (1451-1536).  He  was  first 
a  miniaturist,  and  the  effect  of  this  occupation  was  always  visible  in 
his  manner  of  finish.  He  was  an  imitator  of  Jacopo  Bellini.  A 
number  of  his  works  remain  and  are  in  Verona,  Milan,  Padua,  the 
Berlin  Mus.,  and  Florence  Gall.  They  have  no  especial  merit.  His 
miniatures  are  his  best  productions.  Some  of  these  are  at  Chiusi. 

Liberi,  Pietro,  born  at  Padua  (1605-1687).  Called  Libertino, 
from  his  love  of  painting  nude  Venuses.  He  is  considered  by  some 
as  the  best  draughtsman  of  the  Venetian  school.  He  painted  some- 
times with  a  free  and  unlabored  manner,  which  he  said  was  for  the 
intelligent;  and  sometimes  with  great  labor  and  exactness,  for  the 
ignorant,  as  he  declared.  He  was  the  first  President  of  the  Acad, 
at  Venice,  where  some  of  his  great  works  are  still  preserved. 

Libri,  Girolamo  dai,  born  at  Verona  (1474-1556).  In  the  "  His- 
tory of  Painting  in  North  Italy,"  it  is  said  of  this  artist,  "  Beginning 
as  a  miniaturist,  emulating  in  succession  the  Mantegnesque  of  Caroto 
and  Morone,  and  the  modern  Veronese  of  Morando,  he  ascends  to  a 
high  place  amongst  the  professors  of  painting  in  the  north;  and 
throughout  his  long  career  he  never  incurs  the  reproach  of  being  a 
plagiarist  or  a  servile  copyist."  His  works  are  best  seen  i'n  Verona; 
there  are  also  specimens  at  the  Berlin  Mus.  and  the  National  Gall. 


LICINIO  —  LIPPI.  369 

Licinio.     See  Pordenone. 

Liemakere,  Nicholas  de,  called  Roose,  born  at  Ghent  (1575- 
1646).  Pupil  of  Otto  Vaenius.  He  was  excellent  in  composition  and 
skilful  in  treatment,  but  his  color  was  not  good,  and  his  heads  were 
insignificant  in  expression.  His  works  are  very  numerous  throughout 
the  Low  Countries. 

Lilieiibergh,  C.  Nothing  is  known  of  this  artist,  but  this  signature 
on  his  pictures.  He  painted  dead  game,  with  the  addition  sometimes 
of  fruit  and  vegetables.  The  Berlin  and  Dresden  galleries  have  each 
one  of  his  works.  He  was  living  in  1663. 

Limborch,  Hendrik  van,  born  at  the  Hague  (1680-1758).  Pupil 
of  Adrian  van  der  Werflf.  He  painted  historical  subjects,  portraits, 
and  landscapes.  He  was  inferior  to  his  master.  Two  of  his  works 
are  in  the  Louvre. 

Lingelbach,  Johann,  born  at  Frankfort-on-the-Maine  (1625- 
1687).  He  spent  a  long  time  in  Italy,  where  he  made  many  studies 
which  greatly  assisted  him  after  his  return  to  Amsterdam,  where  he 
settled.  He  loved  to  represent  scenes  in  which  he  could  introduce 
many  figures,  such  as  fairs,  markets,  etc.  He  so  excelled  as  a  figure 
painter,  that  he  was  sought  by  other  artists,  especially  Wynants  and 
Wouvermans,  to  add  the  figures  to  their  landscapes.  In  composition, 
drawing,  and  careful  execution,  he  excelled,  but  his  color  was  a  weak 
point.  His  flesh  tones  were  often  cold  and  inharmonious,  while  in 
clearness  and  impasto  he  falls  far  below  the  artists  named  above. 
His  works  are  seen  to  advantage  in  the  Louvre,  Hague,  and  Amster- 
dam galleries.  He  also  left  a  few  slight  and  spirited  etchings  after 
his  own  designs. 

Lint,  Peter  van,  born  at  Antwerp  (1609-1675?)  He  passed 
several  years  in  Italy,  where  he  was  well  employed.  Returning  to 
Antwerp,  he  executed  altar-pieces  and  smaller  works.  He  also 
painted  many  portraits,  which  arc  well  esteemed  in  the  Low  Coun- 
tries. 

Lint,  Henry  van,  called  Studio,  on  account  of  his  industry.  Son 
of  the  preceding.  His  Italian  landscapes  are  well  considered.  Some 
of  his  pictures  are  on  water-color  grounds,  and  have  so  little  oil  with 
the  pigments,  that  the  color  is  not  at  all  durable.  His  works  are  su- 
perior to  those  of  Oct'hiali  in  finish.  He  etched  a  few  plates,  some 
of  which  are  dated  1680. 

Linthorst,  J.,  born  at  Amsterdam  (1755-1815).  Painter  of  fruit 
and  flowers.  He  painted  large  flowers  and  leaves,  nuts,  and  grapes 
well,  and  his  works  are  placed  in  the  best  collections.  Two  fine  ones 
are  in  the  Amsterdam  Mus. 

Lippi,  Fra  Filippo  (about  1412-1469).     This  artist  is  one  who 

has  been  considered  as  disgracing    his    profession   by  his    private 

life,  but  there  are  many  and  grave  doubts  as  to  whether  the  usual 

account  of  him  be  true,  and  of  those  doubts  he  should  have  the  full 

24 


370  LIPPI. 

benefit.  The  story  is  this  :  He  was  an  orphan  at  an  early  age,  and 
his  aunt,  upon  whom  it  devolved  to  care  for  him,  being  poor,  he  was 
placed  in  the  monastery  of  the  Carmine  in  Florence  in  1420.  Here 
he  studied  painting  and  formed  his  style  after  that  of  Masaccio.  But 
as  the  story  goes,  he  could  not  endure  restraints,  broke  away  from  the 
convent,  and  while  on  an  excursion  at  sea  was  captured  by  pirates 
and  taken  to  Barbary  as  a  slave.  He  at  last  obtained  his  freedom  on 
account  of  a  likeness  he  made  of  his  master,  and  was  returned  to 
Italy  with  rich  presents.  He  landed,  it  is  said,  at  Naples,  and  at 
length  returned  to  Florence.  Later  in  life,  while  employed  at  the 
convent  of  S.  Margherita  at  Prato,  he  seduced  and  carried  off  Lucre- 
zia  Buti,  a  novice,  who  became  the  mother  of  Filippino  Lippi,  and 
eleven  years  later  he  died  from  poison,  administered  according  to 
one  account  by  the  relatives  of  Lucrezia,  and  according  to  another 
by  those  of  a  woman  who  had  succeeded  her  in  his  affections.  Were 
this  story  wholly  true  it  would  be  best  to  speak  only  of  his  works, 
forgetting  himself  entirely,  but  while  it  is  not  possible  to  totally  con- 
tradict it,  there  are  some  circumstances  now  known  which  mitigate 
censure,  at  least.  The  name  of  Castagno  has  been  freed  from  the 
stigma  of  murder  which  Vasari  attached  to  it,  and  it  is  Vasari  who 
accuses  Fra  Filippo  of  all  his  faults.  From  1430  to  1432  his  name  is 
mentioned  with  the  title  of  painter  in  the  records  of  the  convent,  and 
it  was  probably  during  that  time  that  he  executed  there  the  works 
which  are  spoken  of  as  very  excellent,  but  of  which  none  remain. 
The  capture  by  the  pirates  cannot  be  supported  by  any  proof  of  his 
having  been  either  at  Ancona,  from  which  he  is  said  to  have  sailed, 
or  at  Naples,  to  which  he  returned.  Again,  it  is  not  true  that  he  for- 
feited his  title  of  "  Frater,"  for  all  his  works  which  are  signed  bear 
it,  and  Domenico  Veniziano  mentions  him  in  a  letter  of  1438  as  "  Fra 
Filippo."  But  more  direct  than  all  is  the  proof  of  a  note  written  by 
himself  to  Piero  de'  Medici  in  1439,  when  he  says,  "  I  am  one  of  the 
poorest  friars  of  Florence,"  and  goes  on  to  relate  that  he  has  charge 
of  six  marriageable  nieces  who  depend  upon  him.  He  begs  Piero  to 
let  him  have  corn  and  wine  on  account,  so  that  his  nieces  may  not 
starve  while  he  is  absent  from  them.  We  know  that  in  1452  he  was 
chaplain  to  the  nuns  of  S.  Giovannino  at  Florence,  and  in  1457  rec- 
tor of  S.  Quirico  at  Legnaia.  It  would  not  seem  that  the  seducer  of 
one  nun  would  thus  have  been  associated  with  others.  All  these 
doubts  one  must  have  in  reading  the  story  of  Vasari,  in  whom  our 
faith  has  been  so  justly  shaken,  and  it  is  to  be  hoped  that  further  re- 
searches may  bring  to  light  proofs  which  shall  establish  his  innocence. 
As  an  artist  he  was  the  best  master  of  technicalities,  and  the  best 
colorist  of  his  time,  and  his  mode  of  color  was  original.  With  a 
full  brush  he  created  a  deep  impasto;  he  then  shaded  or  fused  the 
various  parts  into  soft,  rich  fulness,  and  still  preserved  clear  tones 
behind.  He  was  much  inferior  to  Masaccio  in  composition,  and  his 


LIPPI  —  LIVINS.  371 

works  were  marred  by  a  certain  sort  of  bas-relief  flatness,  but  he  gave 
much  life  and  feeling  to  his  heads,  which,  united  to  his  color,  made 
his  pictures  very  attractive.  He  did  not  advance  perspective,  he 
never  foreshortened,  and  his  architectural  knowledge  was  compar- 
atively small;  on  the  other  hand,  his  atmosphere  supplied  in  part  his 
deficiencies ;  he  was  a  good  draughtsman  and  understood  how  to  pre- 
sent the  nude  without  the  vulgarity  of  too  great  realism.  His  dra- 
peries were  loaded  with  ornaments  in  gilt  relief,  and  his  love  for 
elaborate  friezes,  cornices,  and  pilasters  was  remarkable.  His  most 
important  frescoes  were  done  in  the  Cath.  of  Prato,  and  illustrated 
the  history  of  S.  Stephen,  and  that  of  S.  John  Baptist,  besides  single 
figures  of  saints.  His  works  in  the  Cath.  of  Spoleto  are  less  impor- 
tant. The  pictures  of  Fra  Filippo  are  in  all  the  large  European  gal- 
leries, but  there  are  more  in  Florence  than  in  any  other  city.  Fra 
Filippo  was  buried  in  the  Cath.  of  Spoleto,  and  a  monument  was 
there  erected  to  his  memory  by  his  son,  at  the  expense  of  Lorenzo 
de*  Medici. 

Lippi,  Filippino.  It  is  not  positively  known  when  this  artist  was 
born,  or  who  were  his  parents.  He  has  been  called  the  natural  son 
of  Fra  Filippo  Lippi  and  Lucrezia  Buti,  and  said  to  have  been  born 
at  Florence  in  1460.  He  died  in  1505.  He  formed  his  style  from 
that  of  Fra  Filippo  and  from  Sandro  Botticelli.  He  executed  a  great 
number  of  works,  and  was  entrusted  with  those  of  much  importance. 
One  peculiarity  of  his  style  was  his  love  for  ornamentation  of  every 
kind,  which  he  used  in  all  parts  of  his  works.  He  much  excelled 
Fra  Filippo  in  execution,  and  was,  in  truth,  one  of  the  greatest 
artists  of  his  century.  His  women  are  elegant  and  graceful,  his  men 
dignified,  and  all  his  figures  full  of  life,  emotion,  and  action.  His 
finest  frescoes  are  in  the  Brancacci  chapel  of  the  Carmelite  ch.  in 
Florence.  His  finest  easel  picture  is  a  "  Vision  of  S.  Bernard,"  in 
the  Badia  at  Florence.  His  works  are  seen  in  all  large  galleries  of 
Europe,  but  Florence  is  richer  than  any  other  city,  both  in  the  num- 
ber and  quality  of  his  pictures. 

Liverseege,  Henry,  born  at  Manchester  (1803-1832).  This 
painter  was  weak  and  deformed  in  body,  and  unable  to  support  his 
active  imagination,  so  that  his  life  was  one  of  suffering,  and  termi- 
nated suddenly.  He  at  first  painted  portraits,  but  soon  devoted 
himself  to  representing  various  characters  from  the  novels  of  Scott, 
and  other  subjects  of  a  genre  nature.  He  was  especially  happy  in 
his  picture  of  Adam  Woodcock,  and  became  a  favorite  artist.  Most 
of  his  works  have  been  engraved,  and  are  familiar  to  the  public. 

Livins,  Jan,  born  at  Ley  den  (1607-1663).  Pupil  of  Peter  Last- 
man  at  the  same  time  as  Rembrandt.  They  were  always  friends. 
Livins  is  more  important  as  an  engraver  than  as  a  painter,  and  the 
influence  of  Rembrandt  is  most  apparent  in  his  etchings.  He  excelled 
his  fellow-pupil  as  a  draughtsman,  but  fell  below  him.  in  every  other 


372 


LIVINS  —  LOMBARDO. 


particular.  His  portraits  were  very  fine.  Few  of  his  works  are  in 
public  galleries.  An  important  one  represents  "  Jacob  receiving  the 
Blessing  of  Isaac,"  and  is  in  the  Berlin  Mus.  The  Louvre,  the  Am- 
sterdam, and  Munich  galleries  also  have  specimens  of  his  works. 
Bartsch  gives  fifty-six  etchings  by  him,  and  they  are  very  excellent. 

Lombard,  Lambert.     Real  name  Lambert  Sustermann.     Born  at 
Liege  (1506-1560).     Pupil  of  Mabuse,  he  adopted  the  Italian  style 


BS.   PETER  A1CD  PAUL  BEFORE  THE  PROCONSUL  FELIX.      BY  FIUPPINO  LEPPI. 

Brancacci  Chapel. 

of  painting,  which  was  confirmed  by  a  visit  to  Italy,  where  he  was  in- 
structed by  Andrea  del  Sarto.  He  returned  to  Liege  and  opened  a 
school,  and  in  addition  to  painting,  professed  architecture,  numis- 
matics, engraving,  archaeology,  and  poetry.  His  works  had  consider- 
able merit,  and  are  now  rare.  There  is  one  in  the  Berlin  Mus. 

Lombardo,  Alfonso    (1488-1537).     Sculptor  of  Bologna,  where 
his  most  important  works  remain,  in  the  churches  of  S.  Pietro,  S. 


LOMBAKDO  —  LONSING.  373 

Petronio,  S.  Domenico,  and  S.  Maria  della  Vita.  In  the  latter,  a  life- 
size  clay  group  representing  the  "Death  of  the  Virgin  "  is  an  ex- 
cellent composition. 

Lombardo,  Pietro,  and  his  sons  Tullio  and  Antonio.  Pietro 
was  an  architect  and  sculptor.  In  1481  he  constructed  the  Palazzo 
Vendramin  Calergi  at  Venice.  This  was  a  chef-d'oeuvre  of  the  time. 
A  large  number  of  sculptures  are  assigned  to  the  three  conjointly. 
Among  the  most  important  of  these  is  the  tomb  of  the  Doge  Mo- 
cenigo,  in  S.  Giovanni  e  Paolo,  and  the  reliefs  on  the  fa9ade  of  the 
Scuola  di  S.  Marco.  Tullio  was  the  more  important.  The  great 
altar  relief  in  S.  Giovanni  Crisostomo,  representing  the  "  Coronation 
of  the  Virgin,"  is  ascribed  to  him. 

Lomi.     See  Gentileschi. 

Londonio,  Francesco,  born  at  Milan  (1723-1783).  Best  known 
for  his  etchings  of  landscapes  and  animals.  He  also  painted,  and 
his  pastoral  subjects  are  seen  in  fine  collections  in  Milan,  Genoa,  and 
Naples. 

Loiighi,  Luca,  born  at  Ravenna.  Flourished  about  1580.  His 
principal  work  was  a  "  Marriage  at  Cana,"  in  the  refectory  of  the 
Camaldolese  at  Ravenna.  Some  of  the  heads  are  fine,  but  his  whole 
manner  was  somewhat  affected.  His  pictures  are  in  the  churches  of 
Ravenna,  Mantua,  and  Ferrara.  He  inclined  to  the  manner  of 
Francia;  his  finish  is  excellent  and  his  color  agreeable. 

Longhi,  Francesco.  Son  and  pupil  of  the  preceding,  to  whom 
he  was  inferior  as  an  artist. 

Longhi,  Giuseppe,  born  at  Monza  (1766-1831).  A  distinguished 
engraver.  He  studied  under  Vanirelisti,  professor  of  engraving  at 
Milan,  whom  he  afterwards  succeeded.  He  also  studied  in  Rome, 
where  he  was  acquainted  with  Raphael  Morgheu.  His  chief  object 
in  his  work  was  to  represent  the  style  of  the  original  artist.  He 
excelled  in  light  and  shade.  He  engraved  some  of  the  choicest 
works  of  the  best  Italian  masters,  and  executed  some  superb  por- 
traits. His  skill  in  handling  the  graver  was  wonderful.  In  1827  he 
commenced  to  engrave  the  "  Last  Judgment,"  after  Michael  Angelo; 
it  was  well  advanced  at  his  death,  and  finished  by  one  of  his  scholars. 

Lonsdale,  James,  born  in  Lancashire;  died  1839.  A  portrait 
painter  of  no  especial  merit,  who  painted  some  men  so  distinguished 
as  to  render  the  pictures  valuable.  He  was  successful  in  represent- 
ing the  characteristics  of  his  sitters. 

Lonsing,  Fra^ois  Joseph,  born  at  Brussels  (1743-1799).  He 
entered  a  regiment  of  cadets,  and  while  in  garrison  at  Antwerp 
attracted  the  attention  of  Prince  Charles  de  Lorraine  to  his  love  of 
art.  Under  the  patronage  of  the  Prince  he  studied  in  the  Acad.  he 
had  organi/ed,  and  obtained  a  prize.  The  Prince  and  the  Count 
Cobentzel  then  sent  him  to  Rome,  where  he  entered  the  school  of 
Raphael  Mengs.  He  engraved  several  prints  for  Sir  W.  Hamilton 


374  LONSING  —  LORENZETTI. 

in  1772,  and  went  from  Rome  to  Paris,  Lyons,  and  Bordeaux,  and 
died  in  the  latter  city,  where  most  of  his  works  remained.  His  por- 
traits have  been  engraved.  His  easel  pictures  are  rare  and  are  well 
esteemed.  There  is  a  mixture  of  the  Flemish  and  Italian  in  his 
works,  which  gives  them  a  peculiar  appearance. 

Loo,  Peter  Van,  born  at  Haarlem  (1731-1784).  A  painter  of 
flower  pieces.  He  commenced  by  painting  choice  flowers  for  the 
florists,  and  thus  acquired  the  habit  of  exactness  in  his  representa- 
tions. He  is  sometimes  confounded  with  artists  by  the  name  of 
Vanloo. 

Looten,  Jan,  died  in  London,  1681.  A  Dutch  painter  of  land- 
scapes. His  composition  was  good,  but  his  coloring  was  heavy  and 
inky.  The  Berlin  Gall,  has  a  landscape  with  a  stag  hunt,  signed 
Jan  Looten,  1659. 

Lorenzetti,  Pietro,  flourished  about  1340.  A  contemporary  of 
Simone  of  Siena.  He  was  chiefly  noticeable  for  the  spirited  action 
of  his  figures,  but  his  pictures  as  a  whole  are  so  conformed  to  the  art 
conventionalities  of  his  time  that  they  seem  tasteless  to  us.  Vasari 
calls  his  pictures  in  the  Cath.  of  Arezzo,  now  destroyed,  the  best  that 
had  then  been  done  in  Italy.  His  "  Fathers  and  Hermits  in  the  Wil- 
derness," painted  in  the  Campo  Santo  at  Pisa,  are  still  preserved 
there.  In  the  Uffizi  there  is  a  "Madonna  and  Child  with  Angels," 
signed  by  him,  and  dated  1340.  His  later  pictures  are  his  best,  and 
show  an  attempt  to  free  himself  from  the  prejudices  of  his  time.  In 
1342  he  painted  a  "  Nativity  "  for  the  Cath.  of  Siena,  now  preserved 
in  the  sacristy ;  another  altar-piece  is  in  the  Pieve  of  Arezzo ;  he  also 
painted  at  Assisi,  and  fragments  of  his  large  works  are  in  the  Acad. 
of  Siena,  in  the  Vatican,  and  other  places,  one  of  them  being  in 
England.  He  excelled  in  imparting  strong  expression  to  his  faces, 
such  as  that  of  pain,  fear,  etc.,  and  was,  all  in  all,  an  artist  of  great 
talent,  a  close  student  of  nature,  and  remarkable  in  his  power  to 
render  movement  and  expression. 

Lorenzetti,  Ambrogio.  Brother  of  Pietro.  Lorenzo  Ghiberti 
praised  this  artist  very  highly.  His  earliest  works  were  frescoes  in 
S.  Francesco  of  Siena,  of  which  but  two  fragments  remain.  In  the 
Acad.  of  Arts  at  Florence  are  two  small  predella  panels  by  Am- 
brogio, and  a  "  Presentation  in  the  Temple,"  dated  1342.  In  the 
Palazzo  Pubblico  of  Siena  he  executed  three  immense  allegorical 
pictures,  intended  to  present  the  benefits  of  good,  and  the  evils  of 
bad  government.  These  works  are  very  curious  and  interesting  in 
design,  and  although  much  injured,  enough  remains  to  prove  Ghiberti 
to  have  been  wise  when  he  placed  Ambrogio  before  Simone.  Pietro 
ought  to  receive  the  same  praise.  These  brothers  worked  together, 
seem  to  have  been  of  nearly  the  same  age,  and  their  names  appear 
and  disappear  from  records  at  the  same  time.  They  approached 
more  nearly  to  Giotto  than  any  others  of  Siena.  Besides  the  works 


LORENZETTI  —  LORRAINE.  375 

of  Ambrogio  already  mentioned,  there  are  those  attributed  to  him 
which  are  not  dated,  and  may  have  been  done  by  his  pupils.  Some 
of  these  are  in  the  Berlin  Gall.  There  is,  however,  another  gen- 
uine Ambrogio  in  the  Acad.  of  Siena,  finished  in  1344,  representing 
the  "  Annunciation."  There  were  a  number  of  Sienese  artists  by 
the  name  of  Lorenzetti,  who  flourished  in  the  15th  century. 

Lorenzo,  Fiorenzo  di.  An  artist  of  Perugia  who  flourished  about 
1487.  His  works  are  rare;  there  are  four  specimens  in  the  churches 
and  Palazzo  del  Consiglio  of  Perugia,  and  one  in  the  Berlin  Gail. 
His  composition  was  good,  and  his  conception  more  refined  than  that 
of  the  Perugian  artists  of  his  time.  Certain  characteristics  indicate 
his  acquaintance  with  Paduan  art,  especially  the  "Madonna"  at 
Berlin,  which  is  hard  in  expression. 

Lorenzo  da  S.  Severino.  There  were  two  Umbrian  painters  by 
this  name  who  flourished  in  the  15th  century.  The  first  one  was 
the  best  artist,  and  was  twenty-six  years  old  in  1400,  as  is  shown  by 
his  inscription  on  a  picture  now  almost  destroyed,  belonging  to  the 
Cistercians  of  S.  Severino.  Some  of  his  works  also  remain  in  S. 
Gio.  Battista,  at  Urbino.  He  was  an  average  Umbrian  painter  for 
his  time.  Lorenzo  "  the  Second  "  flourished  about  1483.  One  of  his 
pictures,  a  "Marriage  of  S.  Catherine,"  is  in  the  National  Gall.; 
others  are  at  Pansola  and  Sarnano.  Little  can  be  said  in  their  praise. 

Lorme  or  De  L'Ornie,  A.  A  painter  of  the  interiors  of  Dutch 
churches,  who  flourished  late  in  the  1 7th  century.  His  works  are 
rare,  and  in  some  respects  fine;  his  color,  being  always  the  same, 
gives  a  monotony  to  his  pictures,  but  his  perspective  and  his  light 
and  shade  are  excellent.  His  best  works  have  figures  by  Terburg 
and  other  artists. 

Lorraine,  Robert  le,  born  at  Paris  (1666-1743).  A  sculptor  who 
entered  the  school  of  Girardon  at  eighteen,  and  was  employed  by  him 
on  very  important  works.  In  1690  he  went  to  Rome,  and  afterwards 
completed  some  works  at  Marseilles,  which  Puget  had  left  unfinished 
at  his  death.  In  1717  he  was  chosen  Professor  of  Sculpture,  and  in 
1 73  7,  Director  of  the  Acad.  His  "  Galatea  "  is  much  admired,  as  are 
also  his  works  in  the  Episcopal  Pal.  of  Saverne.  He  made  statues 
for  the  gardens  of  Versailles  and  Marly. 

Lorraine,  Claude,  real  name  Claude  Gelee,  born  at  Champagne  in 
Lorraine  (1600-1682).  This  artist  is  the  prince  and  poet  of  land- 
scape painters.  The  following  extract  from  Liibke  is  comprehensive 
and  full  of  truth :  "  Far  more  profoundly  than  these  and  all  other 
masters,  did  Claude  Gel^e  penetrate  into  the  secrets  of  nature,  and 
by  the  enchanting  play  of  sunlight,  the  freshness  of  his  dewy  fore- 
grounds, and  the  charm  of  his  atmospheric  distances,  he  obtained  a 
tone  of  feeling  which  influences  the  mind  like  an  eternal  Sabbath  rest. 
In  his  works  there  is  all  the  splendor,  light,  untroubled  brightness, 
and  harmony  of  the  first  morning  of  creation  in  Paradise.  His 


376  LORRAINE. 

masses  of  foliage  have  a  glorious  richness  and  freshness,  and  even  in 
the  deepest  shadows,  are  interwoven  with  a  golden  glimmer  of  light. 
But  they  serve  only  as  a  mighty  framework,  for,  more  freely  than 
with  other  masters,  the  eye  wanders  through  a  rich  foreground  into 
the  far  distance,  the  utmost  limits  of  which  fade  away  in  golden 
mist."  One  of  the  striking  excellences  of  the  works  of  this  artist 
is  the  immense  space  he  represents;  another  is  his  color;  he  seems  to 
have  first  used  much  silvery  gray,  over  which  he  painted,  and  this 
foundation  color  gives  a  peculiarly  atmospheric  effect.  His  architec- 
tural representations  are  unexceptionable,  but  he  never  succeeded  in 
animals  and  figures,  and  was  wont  to  say  that  he  sold  the  landscape, 
but  gave  away  the  figures.  Even  before  his  death,  his  pictures  were 
so  much  admired,  that  other  artists  attempted  to  imitate  him  and  to 
dispose  of  their  works  as  his.  In  order  to  prevent  this,  he  kept  a 
book  of  drawings  by  which  to  identify  his  pictures.  This  he  called, 
"  Liber  Veritatis."  At  his  death  there  were  six  of  these,  one  of 
which,  containing  200  drawings,  is  at  Chatsworth,  and  has  been  re- 
produced by  Earlom.  All  the  principal  European  galleries  have 
pictures  by  Claude,  but  England  is  especially  rich  in  his  works,  which 
are  not  only  in  public,  but  in  numerous  private  collections.1  Enormous 
prices  are  now  paid  for  them,  whenever  they  are  sold.  The  life  of 
Claude  began  in  poverty.  His  parents  were  very  poor,  and  died 
while  he  was  still  young.  He  was  apprenticed  to  a  pastry  cook,  and 
travelled  to  Rome  as  valet  to  some  young  artists.  Soon  after  he  ar- 
rived there,  he  entered  the  service  of  Agostino  Tassi,  for  whom  he 
cooked  and  prepared  colors.  He  at  length  began  to  paint,  and  was 
a  most  assiduous  student  of  nature.  He  was  accustomed  to  sit  whole 
days  watching  a  scene  and  studying  the  effects  of  light  at  the  differ- 
ent times  of  day,  and  so  faithful  was  his  memory,  that  he  could  repro- 
duce them  exactly  upon  his  canvas.  But  few  of  his  works  are  an 
exact  picture  of  any  one  scene ;  they  are  rather  composed  of  pictur- 
esque materials  gathered  from  different  points,  united  with  consummate 
taste  and  skill,  and  poetized  or  idealized  by  his  exquisite  imagination. 
There  is  another  account  of  his  early  life,  which  says  that  he 
journeyed  to  Rome  with  a  relative,  and  says  nothing  of  his  having 
been  a  pastry  cook;  but  the  fact  that  Sandrart  was  his  personal 
friend,  and  published  the  first  account,  while  Claude  still  lived,  is 
strong  proof  in  favor  of  its  truth.  It  is  also  said  that  he  studied  in 
Naples  with  Godfrey  Waal  before  he  became  the  pupil  of  Agostino 
Tassi.  His  reputation,  which  was  already  good,  was  fully  established 
by  some  works  executed  for  Urban  VIH.  soon  after  1627.  From 
this  time,  he  received  commissions  from  the  most  appreciative  patrons 
of  art  in  all  parts  of  Europe.  In  character,  he  was  unimpeachable, 
amiable  in  disposition,  and  tender  in  feeling.  His  personal  appear- 

1  An  original  Claude  Lorraine,  belonging  to  Mr.  William  Philips,  was  burned 
in  Boston,  November  9,  1872. 


LORRAINE  —LOTTO.  377 

ance  was  attractive,  though  his  expression  was  grave.  He  suffered 
much  from  gout,  and  was  often  unable  to  paint.  It  would  seem  that 
he  should  have  left  a  goodly  fortune,  but  it  was  10,000  scudi  only. 
It  is  believed  that  his  charities  to  his  needy  relatives  had  made  it 
thus  small.  Smith's  Catalogue  Raisonne  gives  a  descriptive  list  of 
more  than  400  works  by  this  master. 

ENGRAVINGS  AFTER  THE  WORKS  OF  CLAUDE  LORRAINE. 

Engraver,  BAS,  James  Philip  le.  The  Port  of  Messina;  fine.  An 
Italian  Landscape;  fine. 

Engraver,  BROWNE,  John.  A  Landscape,  with  Procris  and  Ceph 
alus. 

Engraver,  BYRNE,  William.     Evening;  a  fine  landscape. 

Engraver,  CANOT,  Peter  Charles.  A  Landscape.  Sunrise;  a  ma- 
rine view. 

Engraver,  GODFROY,  Fran9ois.     A  Landscape. 

Engraver,  LERPINIERE,  Daniel  de.  Landscape,  with  the  Flight 
into  Egypt.  Landscape,  with  S.  George  and  the  Dragon.  Grand 
Landscape,  with  the  Israelites  worshipping  the  Golden  Calf. 

Engraver,  MORIN,  John.     Landscape,  with  Ruins. 

Engraver,  VIVARES,  Francis.  Landscape,  Morning.  Landscape, 
Evening.  The  Enchanted  Castle.  View  near  Naples. 

Engraver,  WOOD,  John.     Two  Italian  Landscapes. 

Engraver,  WOOLLETT,  William.  The  Enchanted  Castle.  The 
Temple  of  Apollo.  Roman  Ruins.  Landscape,  with  the  Meeting  of 
Jacob  and  Laban. 

Lothener,  Stephan.  An  old  artist  of  Constance,  who  belongs  to 
the  school  of  Cologne,  where  he  owned  a  house.  He  flourished  most 
from  1442  to  1451.  He  was  the  painter  of  the  well-known  triptych 
in  a  chapel  of  the  choir  of  Cologne  Cath.  This  represents  (when 
open)  in  the  centre,  the  "  Adoration  of  the  Magi;  "  on  the  insides  of 
the  wings,  u  S.  Gereon  and  his  Warriors,"  and  "  S.  Ursula  and  her 
Maidens;  "  the  outsides  of  the  wings,  the  "  Annunciation."  This  is 
a  most  interesting  work ;  it  is  characterized  by  an  ideal  grace  and 
beauty,  solemn  and  simple  dignity,  force  and  depth  of  tone,  and  has 
a  remarkably  good  color  for  a  tempera  of  its  age.  In  the  Darmstadt 
Mus.,  there  is  a  "  Presentation  in  the  Temple,"  dated  1447,  by  Meis- 
ter  Stephan,  and  in  the  Coll.  at  Kensington,  a  picture  of  SS.  Cather- 
ine, Matthew,  and  John  the  Evangelist.  In  the  Mus.  of  Cologne, 
there  is  a  Madonna,  and  another  colossal  "  Virgin  and  Child,"  in 
the  Coll.  of  the  Archbishof)  of  Cologne.  Stephan  may  have  been  the 
pupil  of  Meister  Wilhelm;  it  is  plain  that  he  formed  his  style  after 
that  master.  There  are  other  works  executed  by  him  and  under  his 
direction,  in  the  chapel  of  S.  Maurice,  at  Nuremberg,  and  in  the 
Cologne,  Munich,  and  Berlin  galleries. 

Lotto,  Lorenzo,  was  probably  born  at  Bergamo,  although  he  is 


378  LOTTO  —  LUIGI. 

sometimes  called  a  Venetian  (1480  7-1558  ?).  Tassi  says  he  studied 
under  Andrea  Previtali  and  Gio.  Bellini.  He  was  one  of  the  most 
important  second-rate  artists  of  his  day,  and  to  be  called  but  second- 
rate  in  that  era  is  high  praise.  He  was  not  original,  but  followed 
whatever  artist  he  admired  most  at  the  time,  and  as  his  standard 
changed,  so  changed  his  manner;  the  result  being  that  at  different 
times  his  works  resemble  Bellini,  Giorgione,  and  Titian.  He  executed 
an  immense  amount  of  work  in  oil  and  fresco.  His  pictures  are  in 
the  churches  and  galleries  of  numerous  Italian  cities  and  towns,  and 
in  almost  ah1  European  collections  from  St.  Petersburg  to  Madrid.  He 
resided  for  a  time  in  Venice,  Treviso,  Kecanati,  Bergamo,  Trescorrc 
(where  he  first  painted  in  fresco),  Ancona,  and  Loretto,  where  he 
died.  Besides  his  Scriptural  and  historical  series  and  single  subjects, 
he  painted  many  very  excellent  portraits,  some  of  which  have  been 
at  times  (as  probably  others  still  are),  attributed  to  Titian,  Giorgione, 
Leonardo,  and  Pordenone.  That  they  could  be  thus  assigned  is  suf- 
ficient praise,  and  tells  how  excellent  they  must  be.  These  portraits 
are  in  the  Borghese  Pal. ,  in  the  Brera,  the  Vienna  Gall.,  the  National 
Gall.,  etc.  His  principal  large  works  are  at  Venice,  Bergamo,  and 
Recanati.  During  the  later  years  of  his  life  he  was  the  friend  of 
Titian,  and  assimilated  his  style  more  and  more  to  his.  Aretino 
writes  of  him  that  he  became  very  religious,  and  as  he  was  employed 
at  Loretto  and  dwelt  in  the  sanctuary,  it  is  probable  that  the  hours 
not  given  to  art  were  spent  in  devotion. 

Loutherbourg,  Philip  James,  born  at  Strasburg  (1740-1812). 
Settled  in  England  in  1771.  He  painted  landscapes,  marine  and 
battle  scenes,  and  was  also  employed  as  a  scene-painter.  He  con- 
tributed largely  to  the  Royal  Acad.  exhibitions.  The  "  Fire  of  Lon- 
don," the"  Destruction  of  the  Spanish  Armada,"  and  "  Lord  Howe's 
Victory,"  are  among  his  principal  works.  His  battle  subjects  have 
an  historical  interest,  and  his  naval  pictures  are  finished  with  great 
care,  but  his  color  was  neither  fine  nor  natural.  His  cabinet  land- 
scapes are. his  most  pleasing  works,  and  some  of  them  arc  excellent. 

Lowry,  Wilson,  died  1824.  An  English  engraver  who  excelled 
in  mechanical  and  architectural  subjects.  He  engraved  many  plates 
for  books,  such  as  Crabbe's  Technological  Dictionary,  Nicholson's 
Architecture,  etc. 

Lucatelli  or  Locatelli,  Andrea.  A  Roman  landscape  painter 
who  flourished  late  in  the  1 7th  century.  Many  of  his  pictures  are  in 
England.  His  river  water  is  better  painted  than  his  seas.  Some  of 
his  works  are  highly  and  delicately  finished,  and  are  pleasing  in  effect. 

Lucchesino.     See  Testa. 

Luigi,  Andrea,  called  I/Ingegno.  Probably  a  pupil  of  Niccolo 
Alunno.  Very  little  is  known  of  his  history.  He  was  established 
as  an  artist  as  early  as  1484.  He  was  a  native  of  Assisi,  and  there 
are  various  pictures  on  the  walls  of  houses  there  ascribed  to  Luigi. 


PICTURE  OF   8.   URSULA,  IN  THE   CATH.  OF   COLOGNE.      BY   STEl'IIAN   LOTHENER. 


LUIGI  —  LUTMA.  381 

A  Madonna  with  saints  and  angels,  in  the  Louvre,  is  called  his,  also 
a  beautiful  Madonna,  dated  1505,  in  S.  Spirito  at  Florence,  but  there 
are  grave  doubts  about  the  latter.  He  relinquished  painting  and 
gave  himself  to  civil  affairs. 

Luini  or  Lovini,  Bernardino,  born  at  Luino  on  Lake  Maggiore 
(about  1460-1530).  If  not  the  pupil,  he  was  the  most  successful  fol- 
lower of  Leonardo  da  Vinci;  indeed,  many  of  his  works  have  been 
attributed  to  Leonardo.  But  his  pencil  was  less  masculine  than  that 
of  his  master.  His  coloring  was  clear  and  warm,  his  figures  beau- 
tiful, and  his  conceptions  full  of  grace  and  tender  feeling.  His  best 
works  arc  elaborately  finished.  He  is  not  as  great  as  Leonardo,  but 
he  has  scarcely  received  the  attention  and  admiration  he  merits.  The 
"  Herodias,"  in  the  Tribune  of  the  Uffizi,  and  the  half-length  of  the 
"  Infant  Baptist  playing  with  the  Lamb,"  in  the  Ambrosian  Gall,  at 
Milan,  were  long  credited  to  Leonardo;  a  Madonna  between  SS. 
Catherine  and  Barbara,  in  the  Esterhazy  Gall. ,  is  still  inscribed  with 
his  name,  but  competent  judges  ascribe  not  only  these,  but  also 
"  Christ  disputing  with  the  Doctors,"  and  "  Vanity  and  Modesty,"  to 
Luini.  He  executed  many  frescoes.  The  Brera  is  rich  in  those 
which  have  been  removed  from  the  walls  where  they  were  painted ; 
it  has  also  many  of  his  easel  pictures.  The  Ambrosian  Library,  the 
Casa  Silva,  and  the  Monastero  Maggiore  (S.  Maurizio),  all  at  Milan, 
have  fine  works  by  Luini.  His  frescoes  in  the  ch.  of  Saronno,  exe- 
cuted about  1530,  are  well  preserved  and  very  fine.  His  works  at 
the  Cath.  of  Como  contain  some  figures  of  surprising  beauty. 

Luiideiis,  Gerrit  or  Gerard.  A  Dutch  painter  who  flourished  prob- 
ably late  in  the  17th  century.  Nothing  is  known  of  his  life.  He 
painted  interiors  and  merry-makings.  His  works  were  formerly  only 
seen  in  Holland,  but  of  late  a  few  have  been  brought  to  England. 

Luti,  Cavaliere  Benedetto,  born  at  Florence  (1666-1724).  It  is 
to  be  regretted  that  this  artist  spent  much  time  in  working  with  cray- 
ons, which  are  so  perishable.  The  Grand  Duke  gave  him  the  means 
to  visit  Rome,  where  he  attracted  the  attention  of  Pope  Clement  XL, 
from  whom  he  received  commissions  and  the  Order  of  the  Cross.  His 
works  are  in  several  churches  of  Rome,  but  the  "  Vest  of  S.  Ra- 
nieri,"  in  the  Cath.  of  Pisa,  is  considered  his  chef-d'oeuvre.  He  also 
left  the  two  following  etchings,  which  are  now  scarce  :  — 

The  Crucifixion,  with  S.  John  and  the  Magdalene  at  the  foot  of 
the  Cross. 

A  Landscape;  after  Guercino. 

Lutma,  Janus  or  John,  born  at  Amsterdam.  An  engraver  and 
goldsmith.  There  are  a  few  plates  by  Lutma  which  are  scarce  and 
much  esteemed.  They  are  as  follows  :  — 

Portrait  of  his  Father;  Janus  Luima,  Posterifati;  opus  mallei  per 
Janune,  fee. 

His  own  Portrait;  Janus  Lutma  Batavus,  per  se  opere  mallei    1681. 


382  LUTMA  —  LYSIPPUS. 

J.  Vondelius  ;  Olor  Batavus  ;  opus  mallei,  per  J.  Lutma. 

P.  C.  Hooft;  Alter  Tacitus ;  opus  mallei,  per  J.  Lutma. 

The  above  were  executed  in  a  peculiar  manner,  with  a  chisel  or 
punch  and  a  mallet.  This  he  called  opus  mallei.  The  two  following 
are  engraved  in  the  manner  of  Rembrandt,  and  are  much  admired  :  — 

Joannes  Lutma,  Aurifex.  It  is  a  likeness  of  his  father  in  a  furred 
robe ;  he  has  his  spectacles  in  one  hand,  and  a  porte-crayon  in  the 
other;  signed,  Joannes  Lutma,  Junior,  fecit  Ao.  1656. 

Joannes  Lutma,  Junior ;  seated  at  a  table  drawing,  with  a  large 
hat  which  overshadows  his  face  ;  very  scarce. 

Lutzelburger,  Hans,  called  also  Hans  Franck.  An  old  wood-en- 
graver who  engraved  principally  the  works  of  Hans  Holbein.  He 
Jived  early  in  the  16th  century.  His  initials,  H.  L.,  are  on  some  of 
his  plates.  Zani  called  him  the  "  prince  of  wood-engravers." 

Luyken,  John,  born  at  Amsterdam  (1649-1712).  This  artist  was 
first  a  painter,  but  became  at  length  an  eminent  engraver.  His 
facility  of  execution  and  his  powers  of  invention  obtained  for  him 
the  title  of  the  Callot  of  Holland.  Bohn's  new  catalogue  mentions 
more  than  900  engravings  by  Luyken. 

Luzzo,Pietro,  called  also  Morto  da  Feltri.  Born  1474.  Little  is 
positively  known  of  this  artist,  and  but  few  of  his  works  remain.  The 
most  important  of  these  is  an  altar-piece  in  the  ch.  of  Villabruna, 
which  represents  the  Virgin  seated  on  a  cloud,  holding  the  Child,  who 
gives  the  benediction.  SS.  George  and  Victor  are  below.  There 
are  also  portions  of  ornamented  houses  in  Feltre,  believed  to  be  his 
work,  and  a  few  fragments  in  other  churches  near  Feltre.  Several 
galleries  have  works  ascribed  to  him,  but  it  is  impossible  to  say  with 
how  much  justice.  This  is  the  same  artist  who  is  said  to  have  been 
in  the  employ  of  Giorgione  at  Venice,  to  have  seduced  the  mistress 
and  broken  the  heart  of  his  master,  and  to  have  fallen  in  battle  at 
Zara. 

Lysippus.  A  native  of  Sicyon.  He  was  a  famous  sculptor 
who  worked  chiefly,  if  not  entirely,  in  bronze.  He  was  the  head  of 
the  Argive-Sicyonic  school.  Pliny  says  he  executed  as  many  as  610 
statues,  and  that  they  were  remarkable  for  what  he  calls  symmetria. 
He  made  many  statues  of  Hercules,  and  one  in  the  British  Mus. 
may  possibly  be  his,  which  represents  the  god  holding  the  apples  of 
the  Hesperides.  His  statue  of  Jupiter  at  Tarentum  was  sixty  feet 
high,  and  he  also  made  a  colossal  Hercules  for  the  same  city.  His 
Apoxyomenes  was  highly  celebrated,  and  represented  an  athlete 
scraping  himself  from  the  dust  of  Palaestra  with  an  iron.  A  copy 
of  it  in  marble  was  found  at  Trastevere  in  1846,  and  is  now  in  the 
Vatican.  This  shows  that  Lysippus  aimed  to  give  the  body  a  more 
elegant  and  slender  shape  than  had  been  the  manner  of  representa- 
tion; he  also  made  the  head  smaller  in  proportion  to  the  body  than 
had  before  been  the  custom.  This  statue  is  full  of  elastic  grace.  He 


•     LYSIPPUS  —  MABUSE.  383 

made  many  portrait  statues  of  Alexander  the  Great,  who  was  unwill- 
ing that  any  other  should  model  him.  He  also  represented  a  famous 
lion  hunt  of  Alexander's,  and  his  rescue  from  danger  by  Craterus; 
and  a  group  of  the  King  with  twenty-five  horse  and  nine  foot  soldiers 
in  the  battle  on  the  Granicus.  Another  characteristic  of  this  artist 
was  his  excellent_execution  of  the  hair. 

M. 

Maas  or  Maes.  There  have  been  so  many  artists  of  this  name 
that  it  would  be  impossible  to  give  them  all  a  place  here.  The  most 
important  is  Nicholas  Maas,  born  at  Dortrecht  (1632-1693).  Said 
to  have  been  a  pupil  of  Rembrandt.  He  painted  genre  subjects  and 
portraits.  The  former  are  highly  esteemed;  they  have  but  few 
figures;  the  lighting  is  admirable,  and  his  sunlight  effects  very  pleas- 
ing; his  perspective  is  fine,  his  color  brilliant  and  warm.  His  por- 
traits are  excellent  also;  the  backgrounds  and  accessories  aro 
picturesque  and  highly  finished,  and  often  have  the  effect  of  fancy 
pictures  rather  than  the  stiff  awkwardness  of  many  portraits.  Three 
of  his  works  are  in  the  National  Gall.,  one  of  which,  the  "  Idle 
Servant  Maid,"  is  a  masterpiece.  The  Amsterdam  and  Berlin 
galleries,  the  Van  der  Hoop  Coll.,  and  the  Uffizi  have  each  one  of  his 
pictures,  but  most  of  them  are  in  private  collections,  and  many  are 
in  England.  Smith  only  mentions  forty-five  of  his  works  in  all. 

Maas,  Theodore  or  Dirk,  born  at  Haerlem  (1656-1715).  Pupil 
of  Henry  Mommers  and  Nicholas  Berghem.  His  pictures  are  not 
important,  but  he  left  a  few  etchings  which  are  fine  and  rare.  One 
of  these  represents  a  "  Cavalier  on  Horseback."  He  especially  ex- 
celled in  drawing  horses. 

Mabuse,  Jan  Van,  real  name  Jan  Gossaert,  bora  at  Maubeuge 
(about  1470-1532).  He  went  to  Italy  about  1513,  and  before  this 
time  had  made  himself  one  of  the  best  painters  of  the  later  Van 
Eyck  school;  his  best  works  were  executed  there.  Like  many  of 
his  countrymen,  he  forsook  in  Italy  that  manner  of  painting  and 
choice  of  subjects  which  his  nature  and  training  fitted  him  to  excel 
in,  and  attempted  what  may  perhaps  be  best  termed  ideal  art.  From 
this  time  his  portraits  are  his  finest  pictures.  His  nude  figures  and 
mythological  subjects  are  simply  repulsive,  as  may  be  seen  in  a 
"  Neptune  and  Amphitrite,"  in  the  Berlin  Gall.,  and  a  "Danae  and 
the  Golden  Shower,"  in  the  Munich  Gall.  The  redeeming  feature 
of  his  later  works  is  his  masterly  treatment,  and  some  small  repre- 
sentations of  religious  subjects  are  remarkable.  The  "  Ecce  Homo  " 
in  the  Antwerp  Mus.  is  one  of  these.  Two  of  his  finest  early  pic- 
tures are  the  "  Adoration  of  the  Kings,"  at  Castle  Howard,  and  an 
illustration  of  the  legend  of  the  Count  of  Toulouse,  who  went  as  a 
pilgrim  to  Jerusalem,  at  the  seat  of  Sir  John  Nelthorpe,  in  Lincoln- 


384  MABUSE  —  MALBONE.      * 

shire.  There  are  several  of  his  works  at  Hampton  .Court.  Writers 
disagree  about  his  having  been  in  England,  but  it  is  probably  true 
that  he  was  there  in  the  reign  of  Henry  VII.  Mabuse  was  a  friend 
of  Lucas  von  Leyden,  and  accompanied  him  on  his  famous  pleasure 
trip.  (See  Von  Leyden.)  He  was  always  wanting  money,  and  the 
following  anecdote  shows  one  of  his  modes  of  obtaining  it.  When 
he  was  in  the  service  of  the  Marquis  de  Veere,  that  nobleman,  ex- 
pecting a  visit  from  the  Emperor  Charles  V.,  gave  all  his  retainers 
splendid  white  silk  damask  for  suits  in  which  to  receive  his  Majesty. 
Mabuse  requested  to  be  allowed  to  superintend  the  making  of  his 
clothes,  and  sold  the  damask  and  substituted  for  it  a  suit  of  paper, 
which  he  painted  to  represent  the  damask  so  perfectly  as  to  deceive 
all  who  saw  it.  This  joke  was  told  to  the  Marquis,  who  called  the  at- 
tention of  the  Emperor  to  the  suits,  and  asked  which  one  he  preferred. 
His  Majesty  selected  that  of  Mabuse,  and  would  not  believe,  until  he 
touched  it,  that  it  was  not  real  damask.  Besides  the  above-named 
pictures,  there  are  others  in  many  of  the  large  European  galleries,  in 
Lubeck  and  at  Althorpe. 

Machuca,  Pedro,  painter  and  sculptor.  None  of  his  pictures 
remain,  but  near  the  Alhambra  gate  there  is  a  marble  fountain,  now 
much  dilapidated,  which  was  one  of  his  best  works.  At  Seville, 
over  the  door  of  the  ch.  of  the  Hospital  de  la  Sangre,  there  are  three 
alto-relievos  of  Faith,  Hope,  and  Charity,  which  are  better  pre- 
served. His  fame,  however,  rests  on  the  architecture  of  the  palace 
which  he  commenced  for  Charles  V.,  near  the  Alhambra.  Machuca 
first  introduced  Italian  architecture  into  Spain,  and  although  this 
palace  was  never  roofed  in,  and  has  been  a  ruin  for  centuries,  enough 
remains  to  demand  admiration. 

Maeda,  Asensio  de.  Son  of  Juan  de  Maeda,  a  sculptor  and 
architect.  Asensio  is  supposed  to  have  executed  the  marble  statues 
iu  the  antechamber  of  the  chapter-room  of  the  Cath.  of  Seville. 

Maganza,  Alessandro,  born  at  Vicenza  (1556-1640).  An  imi- 
tator of  Paul  Veronese.  There  are  many  of  his  works  in  his  native 
city.  He  had  three  sons  who  were  artists,  and  his  father  was  a  por- 
trait painter,  and  also  pubh'shed  some  poetry  under  the  name  of 
Magagno. 

Mahselkircher,  Gabriel.  Flourished  about  1470.  In  the  Gall, 
at  Schleissheim  there  are  two  large  pictures  by  this  artist,  repre- 
senting "  Christ  bearing  his  Cross,"  and  the  "  Crucifixion."  They 
are  fantastic  and  wild. 

Majaiio.     See  Benedetto. 

Malbone,  Edward  G,  born  at  Newport,  Rhode  Island  (1777- 
1807).  A  fine  miniaturist;  his  works  are  in  many  American  houses. 
He  was  a  friend  of  Allston,  who  said  of  him,  ' '  He  had  the  happy 
talent  of  elevating  the  character  without  impairing  the  likeness ;  this 
was  remarkable  in  his  male  heads ;  no  woman  ever  lost  any  beauty 


MALBONE  —  MANNL.  385 

from  his  hand;  the  fair  would  become  still  fairer  under  his  pencil. 
To  this  he  added  a  grace  of  execution  all  his  own.  He  was  amiable 
and  generous,  and  wholly  free  from  any  taint  of  professional  jeal- 
ousy." 

Manfredi,  Bartolommeo,  born  at  Mantua  (1580-1617).  An 
imitator  of  Michael  Angelo  Caravaggio.  His  subjects  were  bandits, 
gamesters,  etc.  His  works  are  rare,  and  it  is  believed  that  many  of 
them  have  been  attributed  to  Caravaggio.  The  Louvre  possesses  a 
few  good  examples  of  his  style. 

Manni,  Giannicola  di  Paolo,  born  at  Citta  della  Pieve;  died 
1544.  Pupil  of  Perugino,  and  an  artist  of  no  great  excellence.  The 
best  of  his  works  are  in  Perugia,  in  the  Acad.  and  ch.  of  S.  Tommaso. 

Mannl  or  Maennl,  Jacob,  born  at  Vienna,  about  1695.  He  was 
an  engraver  in  mezzotinto.  In  1720  he  undertook  to  engrave  all  the 
pictures  of  the  Imperial  Gall.,  but  died  when  but  thirty-one  plates 
were  finished.  These  prints  are  now  very  rare.  The  following  is  8 
list  of  them  :  — 

The  Portrait  of  the  Emperor  Charles  VI. 

The  Dead  Christ,  supported  by  an  Angel;  after  Palma. 

The  Virgin,  and  Child,  who  caresses  S.  John;  after  Vandyck. 

Mary  Magdalene,  penitent,  with  an  Angel;  after  Correggio. 

S.  Francis  praying ;  after  Bassano. 

S.  Clara  kneeling ;  after  Bassano. 

Repentance  of  S.  Peter;  after  Spagnoletto. 

Martyrdom  of  S.  Bartholomew;  after  L.  Giordano. 

Christ  praying  in  the  Garden;  after  M.  A.  Caravaggio. 

Venus  with  Cupid  holding  a  Mirror  ;  after  Titian. 

Judith  leaving  the  Tent  of  Holofernes  ;  afler  P.  Veronese. 

Christ  disputing  in  the  Temple ;  after  Spagnoletto. 

Samson  delivered  to  the  Philistines;  after  Vandyck. 

Ecce  Homo ;  half  length  ;  after  Titian. 

Mater  Dolorosa;  after  Titian. 

A  Philosopher  meditating  on  a  Skull;  after  L.  Giordano. 

A  Geometrician ;  after  L.  Giordano. 

S.  Margaret  and  the  Dragon;  after  Raphael. 

Tobit  restoring  his  father's  Sight;  after  M.  A.  Caravaggio, 

Christ  taken  in  the  Garden;  after  E.  Manfredi. 

Susanna  at  the  Bath;  after  Tintoretto. 

Susanna  and  the  Elders ;  after  Ann.  Carraccl 

Jupiter  and  Mercury,  with  Baucis  and  Philemon;  after  Carlo  Loti 

Diana  and  her  Nymphs  ;  after  Willeborts  Boschaert  and  Jan  Fyt. 

The  Virgin  and  Child;  after  Titian. 

A  Warrior  giving  his  hand  to  a  Man ;  after  Giorgione. 

A  Dying  Magdalene;  after  the  younger  Palma. 

Christ  bearing  his  Cross;  after  Bassano. 

Judith  with  the  Head  of  Holofernes;  after  A.  Varotari. 


386  MANNL  —  MANTEGNA. 

Judith;  after  Carlo  Vemziano. 

A  Child  holding  a  Dog ;  after  Paul  Veronese. 

Mansueti,  Gio.,  born  at  Venice.  Very  little  is  known  of  this 
painter,  but  in  an  inscription  on  a  picture  dated  1494,  he  declares 
himself  a  pupil  of  Bellini,  and  adds  that  he  believes  the  miracle  of 
the  cross  which  he  represented.  This  picture  is  now  in  the  Acad. 
of  Venice.  There  are  about  a  dozen  works  of  this  master,  most  of 
which  have  genuine  inscriptions.  His  manner  was  stiff  and  conven- 
tional, and  his  color  dull  and  inharmonious.  He  sometimes  intro- 
duces numbers  of  birds  and  animals,  as  in  a  nativity  at  Verona. 
Several  of  his  pictures  are  in  the  Acad.  of  Venice;  others  are  at 
Berlin,  the  Brera,  the  Uffizi,  Verona,  and  Lochis  Carrara  galleries. 

Mantegna,  Andrea,  born  at  Padua 
(1431-1506).  He  was  adopted  by 
Squarcione,  and  registered  as  his  fos- 
ter-child in  1441.  When  but  seventeen  years  old  he  painted  a  Ma- 
donna for  the  ch.  of  S.  Sophia,  which  was  much  admired.  It  is  evident 
from  the  early  efforts  of  Mantegna  that  he  studied  the  works  of  other 
masters  than  Squarcione,  his  instructor.  The  earliest  picture  of  his 
which  is  so  preserved  as  to  show  his  manner,  is  an  altar-piece  in  the 
Brera,  representing  S.  Luke  and  other  saints.  This  was  executed  in 
1454,  and  is  excellent  in  modelling  and  light  and  shade  ;  it  has  a 
northern  realism,  but  is  far  superior  to  most  Squarcionesques,  and 
equal  in  color  to  any  tempera  painting  of  Venice  of  the  same  time. 
After  1448  he  worked  on  the  chapel  of  SS.  Jacobo  and  Cristoforo  in  the 
ch.  of  the  Eremitani  at  Padua.  The  whole  left  side,  with  the  "  Life 
of  S.  Jacobo,"  and  the  "Martyrdom  of  S.  Cristoforo,"  is  his  work. 
For  his  age  and  the  state  of  Paduan  art  they  are  wonderful,  although 
the  criticism  of  Squarcione,  namely,  that  his  figures  were  statuesque 
and  lifeless,  is  valid.  Mantegna  had  become  disaffected  towards  his 
foster-father,  had  married  the  daughter  of  Jacopo  Bellini,  and  fully 
sympathized  with  the  faction  opposed  to  Squarcione.  He  had  no 
doubt  been  much  affected  by  the  influence  of  Donatello  at  Padua;  he 
had  studied  the  antique  as  much  as  possible,  and  imitated  it  in  his 
architecture  and  figures.  But  the  "  Martyrdom  of  S.  Cristoforo  " 
shows  that  he  had  discovered  his  mistake,  and  strangely  displays  his 
attempt  to  remedy  his  greatest  fault.  These  works  made  him 
famous,  and  the  Marquis  of  Mantua  used  every  inducement  to  per- 
suade him  to  leave  Padua.  But  he  was  occupied  with  some  pictures 
for  S.  Zeno  at  Verona,  a  part  of  which  are  now  hung  in  the  choir 
of  that  ch.,  while  other  parts  are  in  the  Museums  of  Tours  and  Paris. 
The  Marquis  persistently  followed  Mantegna,  and  at  length  about 
1460  he  entered  his  service,  in  which  he  continued  until  his  death. 
The  works  which  he  did  in  Mantua  are  scattered  through  all  the 
large  collections  of  Europe.  The  sack  of  the  city  in  1630  left  few 
works  of  art  there.  The  Marquis  required  all  kinds  of  work  of  him, 


MANTEGNA.  387 

from  the  most  sacred  subjects  to  that  of  a  turkey  and  turkey  cock  to 
be  copied  in  arras.  In  the  old  castle  two  rooms  remain  decorated  by 
Mantegna.  An  inscription  in  one  gives  the  date  of  1474.  Some  of 
these  pictures  are  well  preserved,  and  the  Marquis  and  his  family  are 
represented.  It  was  impossible  that  such  pictures  should  be  at- 
tractive, for  the  people  and  their  costumes  were  ugly ;  but  in  the  cor- 
nices and  other  parts  of  the  ceiling  he  paints  very  differently,  with  a 
free  fancy  and  great  ease.  There  he  overcomes  the  difficulties  of 
perspective,  light,  shade,  etc.,  and  does  himself  credit.  The  subjects 
are  full  of  grace  and  life.  The  achievements  of  Hercules,  busts  of 
Roman  emperors,  and  a  strutting  peacock,  with  beautiful  heads  of 
women  and  children  regarding  it,  are  a  part  of  them;  and  in  the 
centre  he  represented  a  great  aperture  through  which,  apparently, 
the  blue  sky  is  seen.  From  time  to  time  the  Marquis  made  him 
presents  of  land,  but  the  records  of  his  life  show  that  he  was  always 
needing  money,  and  lived  extravagantly.  He  was  of  a  quarrelsome 
temper,  too,  and  in  peace  with  few  of  those  about  him.  In  1478  he 
made  great  complaints  to  the  Marquis  Ludovico  of  the  way  in  which 
he  had  been  treated,  and  of  his  poverty;  and  indeed,  he  had  a  right 
to  do  this,  for  he  would  have  been  employed  by  other  princes  gladly, 
if  he  would  have  broken  his  engagements  at  Mantua.  In  this  same 
year  the  Marquis  died,  and  his  son,  Federico,  who  succeeded  him, 
paid  all  that  had  been  promised,  and  treated  Mantegna  with  much  con- 
sideration. Requests  were  constantly  made  for  his  services,  but  these 
were  refused,  and  in  1483  he  was  hastening  to  complete  a  camera 
for  Federico,  who  suddenly  died,  and  the  government  passed  to 
Francesco  H.  This  was  unfortunate  for  the  artist,  for  his  new 
master  was  only  a  boy ;  but  he  soon  found  a  patron  in  the  Duchess 
of  Este,  who  was  betrothed  to  the  young  Marquis.  At  length  in 
1488  he  was  sent  to  Rome  to  paint  a  chapel  in  the  Vatican  for  In- 
nocent VIII.,  whose  request  the  Marquis  could  not  refuse,  Here 
he  labored  unceasingly  for  two  years.  He  then  resumed  the  "  Tri- 
umphs of  Caesar,"  in  which  he  had  been  interrupted,  and  in  1491 
the  Marquis  made  him  new  presents  of  land  as  a  reward  for  these  ex- 
cellent works.  They  are  at  Hampton  Court,  much  injured;  they  are 
nine  in  number,  and  represent  all  the  different  parts  of  a  Roman  tri- 
umphal procession.  It  is  not  known  for  what  they  were  intended, 
and  they  have  been  so  daubed  by  restorers  (?)  that  no  good  judgment 
can  be  formed  of  their  merit.  From  this  time  his  works  all  show  the 
presence  of  his  assistants.  It  was  not,  however,  until  1495  that  he 
produced  his  famous  "  Madonna  della  Vittoria,"  now  in  the  Louvre. 
He  painted  until  his  death,  but  he  suffered  sorrow  and  loss.  His 
wife  died ;  he  became  the  father  of  an  illegitimate  son ;  he  was 
obliged  to  sell  his  house  and  to  live  in  lodgings,  and  his  eldest  son 
so  displeased  the  Marquis  that  he  was  banished  from  Mantua.  At 
the  last  he  was  obliged  to  part  with  his  collection  of  antiquities,  which 


MANTEGNA. 

were  more  precious  to  him  than  anything  else,  and  from  the  day  that 
Isabella  bought  his  bust  of  Faustina,  he  was  broken-hearted.  His 
great  wish  in  his  last  days  was  to  see  the  Marquis,  but  he  was  absent 
at  Perugia,  and  so  the  master  died  in  the  midst  of  his  troubles,  sep- 
arated from  both  his  son  and  his  patron.  There  are  letters  from  his 
children  begging  Francesco  to  allow  the  sale  of  his  works,  especially 
in  order  to  satisfy  the  Bishop  of  Mantua  for  the  chapel  which  Man- 
tegna  had  undertaken  to  arrange  and  adorn  for  a  burial-place  for 


CHRIST  MOURNED  BY  ANGELS.   BY  MANTEGNA. 

Berlin  Mus. 

himself  and  family.  Mantegna  was  doubtless  the  greatest  painter  ot 
Northern  Italy  in  his  day,  and  his  influence  was  felt  in  all  Italy. 
His  works  are  full  of  meaning ;  his  inventive  powers  were  large ;  his 
foreshortening,  perspective,  chiaro-scuro,  and  color  were  excellent, 
and  the  one  great  objection,  before  mentioned,  that  his  figures  were 
portrait-like,  must  be  excused  by  the  consideration  that  such  a  man- 
ner as  his  was  a  legitimate  step  in  advance,  from  the  art  which  had 
preceded  to  that  which  followed  him.  The  Madonna,  in  the  Louvre, 
and  the  works  at  S.  Zeno,  Verona,  already  mentioned,  are  among 


MANTEGNA  —  MARATTI.  389 

his  most  important  easel  pictures.  An  "  Entombment,"  in  the  Vati- 
can, should  also  be  mentioned;  his  pictures  are  in  all  large  collections. 
He  also  painted  what  may  be  called  reliefs,  or  pictures  in  chiaro- 
scuro, and  was  besides  a  good  engraver.  He  was  early  in  the  prac- 
tice of  this  art,  and  his  knowledge  of  design  greatly  assisted  him  to 
excel.  Bartsch  mentions  twenty-three  plates  of  his,  besides  which 
there  is  a  "  S.  George  and  the  Dragon,"  in  the  British  Mus.,  and 
another  called  "  The  Chalice."  The  following  are  his  principal 
plates :  — 

The  Virgin  and  Child. 

The  Scourging  of  Christ. 

The  Entombment  of  Christ,  inscribed,  Humani  generis  redemptore. 

Christ  descending  into  Hell. 

Christ  holding  the  Standard  of  the  Cross  between  two  Saints. 

Judith  with  the  head  of  Holofernes. 

Battle  of  Sea  Monsters,  with  the  figures  of  two  warriors. 

Battle  of  Sea  Gods,  with  the  figure  of  Neptune. 

Hercules  between  Virtue  and  Vice;  sometimes  attributed  to  Marc 
Antonio. 

Hercules  strangling  Antaeus,  inscribed,  Divo  HercuLi  invicto. 

Four  female  figures  dancing. 

Bacchus  supported  by  Fauns  and  Satyrs. 

Triumph  of  Julius  Ca3sar;  nine  plates;  perfect  sets  of  these  are 
rare. 

Ludovico  and  Francesco,  sons  of  Andrea  Mantegna,  completed  the 
unfinished  works  of  their  father.  They  died  in  1511  and  1517. 

Manuel,  Nicolas,  born  at  Berne  (1484-1531).  Called  Deutsch. 
This  painter  was  a  partisan  of  the  Information.  He  made  many 
satirical  sketches  which  proved  him  a  good  artist,  and  fruitful  in  in- 
vention, though  stiff  and  mannered  in  execution.  He  painted  the 
"  Todtentanz  "  in  a  convent  of  Berne,  now  known  only  by  cuts,  the 
frescoes  being  destroyed.  He  was  also  a  poet,  soldier,  statesman,  and 
reformer.  His  pictures  are  very  unequal  in  merit.  His  landscape 
backgrounds  show  the  influence  of  Titian  and  Venice,  which  city  he 
visited.  Several  of  his  works  are  in  the  Mus.  of  Basle.  He  also 
painted  portraits;  his  own  is  in  the  Civic  Library,  at  Berne,  where 
are  many  of  his  drawings.  He  left  some  wood-cuts  executed  in  a 
free,  easy  style,  from  his  own  designs. 

Maratti,  Carlo,  born  at  Camurano  (1625-1713).  Pupil  of  Andrea 
Sacchi.  He  was  an  academic  painter,  feeble  in  design,  and  affected 
in  manner,  and  yet  some  of  his  works  have  a  pleasing  dignity  of  sen- 
timent. His  portraits  were  very  good.  He  was  a  great  admirer  of 
Raphael,  and  was  so  constantly  engaged  upon  Holy  Families  and 
Madonnas,  that  he  was  called  Carluccio  delle  Madonne.  Sacchi  ob- 
tained for  him  a  commission  for  a  picture  for  the  Baptistery  of  S. 
John  of  Lateran.  He  chose  "  Constantino  destroying  the  Idols,"  for 


390  MARATTI  —  MARCH. 

his  subject,  and  painted  it  in  such  a  manner  as  to  secure  the  favor 
of  Alexander  VII.  He  became  the  most  popular  artist  of  Rome,  and 
has  been  called  the  "Last  of  the  Romans."  In  1689  Giro  Ferri, 
who  was  his  principal  rival,  died,  and  from  this  time,  he  was  rapidly 
advanced.  He  was  made  inspector  of  the  stanze  in  the  Vatican,  by 
Innocent  XI.  Innocent  XII.  continued  the  appointment  and  made 
him  superintendent  of  all  the  paintings  of  the  Vatican,  and  Clement 
XI.  entrusted  to  him  the  complete  restoration  of  the  frescoes  of  Ra- 
phael, and  gave  him  the  insignia  of  the  "  Order  of  Christ,"  for  his 
labor  upon  them.  He  was  President  of  the  Acad.  of  S.  Luke  at  the 
time  of  his  death.  His  works  are  numerous  in  both  public  and  private 
galleries.  There  are  many  of  them  in  England.  Bartsch  mentions 
fourteen  etchings  by  Maratti.  These  are  well  executed,  and  are 
partly  from  his  own  designs. 

Marc  Antonio.     See  Raimondi. 

Marcellis  (Marsceus,  Masseus,  or  Snuffelaer),  Otho.  This  ar- 
tist was  known  by  all  the  above  names.  Born  in  Amsterdam  (1613- 
1673).  A  painter  of  reptiles,  insects,  and  curious  plants.  His  works 
are  in  the  best  collections  of  Holland. 

March,  Esteban,  born  at  Valencia;  died  1660.  A  pupil  of  Or- 
rente,  and  a  man  of  singular  genius  and  violent  tempers.  His  life 
and  manner  of  painting  were  Quixotic,  not  to  say  disorderly.  He 
succeeded  best  in  battle  scenes.  He  kept  his  atelier  hung  with  pikes, 
cuirasses,  javelins,  etc.,  and  would  arm  himself,  and  rave  about  in  a 
manner  most  severe  on  the  surroundings,  and  frightful  to  his  scholars. 
When  thus  lashed  up  to  the  point,  he  dashed  off  wonderful  Pharaohs, 
and  fiery  Christians  fighting  for  the  cross  against  the  armies  of  the 
Crescent.  He  painted  religious  subjects  also,  but  not  with  the  en- 
joyment or  success  which  attended  his  other  efforts.  He  was  often 
idle,  worked  only  from  necessity,  and  but  poorly  provided  for  his 
family.  His  wife  complained  of  him  to  her  confessor,  and  begged  his 
advice.  He  told  her  to  try  what  patience  and  tenderness  would 
effect,  but  they  seemed  of  little  use,  and  the  result  was  sometimes 
amusing.  He  came  home  late  one  night,  with  the  determination  that 
a  few  fish,  which  he  brought,  should  be  instantly  cooked.  There  was 
no  oil  in  the  house,  and  when  he  sent  his  pupil,  Conchillos,  to  buy 
some,  the  shops  were  all  closed.  March  then  declared  that  linseed- 
oil  should  be  used.  This  was  done,  and  when  they  began  to  eat,  it 
operated  as  an  emetic  on  all  the  party,  "for  indeed,"  quaintly  re- 
flects Palomino,  "  linseed-oil,  at  all  times  of  a  villainous  flavor,  when 
hot,  is  the  very  devil."  March  then  seized  fish  and  frying-pan,  and 
threw  them  out  of  the  window.  Conchillos  sent  the  charcoal  and 
chafing  dish  to  keep  them  company.  This  so  pleased  March  that  he 
embraced  him,  and  lifted  the  youth  in  such  a  manner  that  he  feared 
that  he  too  was  to  be  thrown  out  with  the  rest.  The  poor  wife 
quietly  went  supperless  to  bed,  and  March  followed  in  surprisingly 


MARCH  —  MARMOLEJO.  391 

good  humor.  In  the  Queen  of  Spain's  Gall.,  there  is  a  "  Pharaoh 
and  his  Host  in  the  Waters;  "  an  "Encampment  of  Turks  ;  "  a 
couple  of  old  Drunkards;  a  Man  with  a  Cup,  and  a  Woman  with  a 
Bottle;  and  a  S.  Jerome.  Most  of  his  works  are  at  Valencia  and 
Madrid.  The  brilliancy  of  his  tones,  and  his  skill  in  representing  the 
dust  and  smoke  of  the  combat,  are  points  of  merit,  and  in  some  re- 
spects he  was  an  artist  of  high  excellence;  but  few  can  echo  the 
words  of  Palomino,  who  says  that  his  works  are  "  stupendous,  and 
worthy  of  eternal  remembrance." 

Marches!.     See  Cotignola. 

Marconi,  Rocco,  born  at  Trevigi.  Flourished  early  in  the  16th 
century.  His  chief  excellence  is  his  color,  and  this  is  sometimes 
almost  gaudy.  Several  of  his  pictures  are  in  Venice. 

Margaritone  of  Arezzo  (1236-1313).  This  old  artist  seems  to 
have  been  the  last  of  the  decaying  mediaeval  painters,  and  from  his 
time  improvement  begins.  There  are  several  existing  works  of  his, 
and  some  are  inscribed  with  his  name.  One  of  these  is  in  the  Na- 
tional Gall.;  one  is  in  Santa  Croce,  Florence;  one  in  the  Acad.  of 
Arts,  Siena;  and  another  in  the  Museo  Cristiauo  of  the  Vatican. 
Others  are  in  more  out  of  the  way  places.  All  are  ugly  in  every  par- 
ticular, but  curious  as  illustrations  of  the  art  of  his  time.  He  is  said 
to  have  been  a  good  sculptor  and  architect,  and  to  have  executed  the 
tomb  of  Gregory  X.,  at  Arezzo. 

Marinus,  Ignatius.  Flourished  about  1630.  This  engraver  re- 
sided principally  at  Antwerp.  Good  impressions  of  his  plates  are 
well  esteemed.  The  following  are  among  the  best :  — 

The  Flight  into  Egypt ;  night  scene ;  after  Rubens. 

S.  Ignatius  healing  the  Sick  ;  after  the  same. 

S.  Francis  Xavier  restoring  a  dead  Person  to  Life;  after  the  same. 

Adoration  of  the  Shepherds;  after  Jordaens. 

Christ  before  Caiaphas  ;  after  the  same. 

Martyrdom  of  S.  Apollonia;  after  the  same. 

Village  Children  forming  a  Concert;  after  C.  Sachtleeven.     1633. 

Marlow,  William  (1740-1800).  Pupil  of  Scott,  and  a  painter  of 
English  landscapes.  He  painted  many  scenes  on  the  Thames,  and 
nc.tr  Richmond  and  Twickenham.  His  pictures  are  pleasing,  well 
colored,  and  finely  finished.  He  also  painted  and  etched  some  Italian 
views. 

Marmolejo,  Pedro  de  Villegas,  born  at  Seville  (1520-1599). 
Bermudez  calls  him  one  of  the  greatest  artists  of  Andalusia.  Is  be- 
lieved to  have  studied  at  Rome.  The  few  of  his  works  which  re- 
main are  in  the  Cath.  of  Seville,  and  in  the  Hospital  of  S.  Lazarus, 
lii  the  Cath.,  the  altar  of  the  chapel  of  the  Visitation  is  adorned  by  a 
picture  of  flie  Virgin  visiting  Elizabeth,  and  several  smaller  works. 
These  are  good  in  design,  color,  and  expression.  The  hospital  has  a 
S.  Lazarus  in  pontifical  robes.  Marmolejo  was  a  friend  of  Arias 


392  MARMOLEJO  —  MARTINEZ. 

Montano,  who  wrote  his  epitaph,  and  in  the  ch.  of  S.  Lorenzo,  near 
the  tomb  of  the  painter,  there  are  two  of  his  pictures  representing 
the  "  Annunciation,"  and  the  "  Virgin  and  Child." 

Marquez,  Esteban,  born  at  Estremadura ;  died  1720.  This  ar- 
tist, by  patient  study  and  application,  became  a  good  imitator  of  Mu- 
rillo.  The  Hospital  de  la  Sangre,  at  Seville,  has  a  series  of  his  paint- 
ings of  the  Apostles,  and  the  Mus.  of  Seville,  a,"  S.  Joseph  and 
Infant  Saviour,"  which  are  surprisingly  like  the  works  of  the  great 
master  he  followed. 

Martin,  John,  born  near  Hexham  (1789-1854).  A  painter  of  the 
most  terrible,  brilliant,  and  incomprehensible  imaginations.  He  has 
been  called  the  painter  of  "architectural  dreams,"  but  his  archi- 
tecture was  no  more  that  of  dreams  than  his  landscapes  were  those 
of  fancy.  Nothing  could  be  thought  of  too  sublime  or  impossible 
for  him  to  attempt.  The  names  of  his  works  show  this;  namely, 
"Joshua  commanding  the  Sun  to  standstill;  "  the  "  Seventh  Plague; " 
"  Sadak  seeking  the  Waters  of  Oblivion;  "  the  "  Fall  of  Nineveh," 
etc.  He  constantly  exhibited  at  the  British  Institution,  and  twice 
obtained  a  premium.  He  had  worked  so  much  on  glass  that  his 
color  always  reminded  one  of  stained  windows  ;  the  human  figures 
of  his  pictures  were  ill-proportioned  and  ugly,  but  his  conceptions 
were  so  poetic  that  there  was  a  peculiar  fascination  in  his  works. 
He  was  also  an  engraver,  and  thus  made  his  works  well  known; 
his  engraving  was  peculiarly  suited  to  his  pictures,  and  brought  out 
their  wonderful  light  and  shade  as  no  other  engraver  could  do. 

Martinez,  Josef.  Valladolid,  end  of  16th  century.  Painted  so 
much  like  the  Florentine  masters,  that  it  is  probable  he  studied  in 
Italy.  An  "  Annunciation"  by  this  artist  is  in  the  Mus.  of  Valla- 
dolid. The  "  drawing  is  good,  the  draperies  finely  managed,  and 
the  coloring  rich  and  effective." 

Martinez,  Ambrosio,  born  at  Granada  (1630-1674).  Pupil  of 
Alonso  Cano.  A  reputable  historical  painter.  Principal  works  are 
at  the  Monastery  of  S.  Geronimo,  and  at  the  Carmelites  in  Granada. 

Martinez,  Sebastian,  born  at  Jaen  (1602-1667).  After  the 
death  of  Velasquez  he  was  painter  to  Philip  IV.  An  excellent 
painter  of  cabinet  pictures,  most  of  which  are  in  private  galleries  in 
Jaen,  Cordova,  Seville,  Cadiz,  and  Madrid. 

Martinez,  Juan  Bautista  del  Mazo.  A  pupil  of  Velasquez. 
He  first  employed  himself  in  copying  the  best  works  of  his  master 
and  other  painters.  He  acquired  great  skill  in  portrait  painting,  and 
attracted  attention  by  a  picture  of  Queen  Mariana.  His  best  works 
were  landscapes  and  hunting  scenes.  In  the  Royal  Gall,  at  Madrid 
are  views  of  Pamplona  and  Saragossa,  a  Seaport  and  a  River  view, 
a  view  of  the  Escorial,  and  a  fine  portrait  of  a  military  commander, 
by  this  artist.  He  married  the  daughter  of  Velasquez,  and  at  the 
death  of  that  master  was  appointed  painter  in  ordinary  to  the  King. 


MARTINEZ  —  MARTINI.  393 

He  died  in  1687.     His  portrait,  painted  by  Esteban  March,  is  in  the 
Koyal  Gall. 

Martini,  Simone,  called  also  Simone  Memmi,  born  at  Siena 
(1283-1344).  He  married  the  sister  of  Lippo  Memmi,  hence 
Vasari's  mistake  of  calling  him  Memmi.  He  was  probably  ac- 
quainted with  Giotto,  and  was,  in  a  sense,  his  rival,  but  never  his 
pupil.  Kugler  says:  "It  is  worthy  of  remark,  and  seems  more  than 
mere  accident,  that  the  reputation  of  Giotto  is  preserved  by  the 
epic-didactic  Dante,  and  that  of  Simone  by  the  great  lyric  poet  of 
mediaeval  Italy  —  Petrarch  —  in  two  of  his  s/mnets."  The  earliest 
of  his  frescoes  eminently  displays  the  truth  that  he  was  purely 
Sienese  in  manner.  It  is  in  the  hall  of  the  Palazzo  Pubblico  of  Siena, 
and  is  enclosed  in  a  kind  of  border  of  shields  and  medallions,  with 
the  arms  of  the  Commune  and  people.  It  represents  an  enthroned 
Madonna  with  angels,  archangels,  saints,  apostles,  evangelists, 
patriarchs,  etc.  Its  size  is  vast,  and  the  whole  work  is  of  great 
interest.  It  appears  from  the  records  that  it  was  necessary  to  repair 
it  soon  after  it  was  painted,  and  this  was  done  by  Simone  himself. 
An  altar-piece  in  seven  compartments,  painted  in  1320  for  the 
Dominicans  of  Pisa,  is  still  preserved.  Nothing  more  graceful  than 
the  female  saints  in  this  can  be  attributed  to  Simone.  The  S.  Cath- 
erine and  the  Magdalene  are  especially  admirable  for  noble  grace 
and  beauty.  No  after  work  by  this  master  was  better,  and  yet  this 
very  picture  painfully  reminds  one  of  his  inability  to  express  relief. 
Another  small  altar-piece  of  the  same  date  (1320)  is  in  the  Fabbri- 
cieria  of  the  Cath.  of  Orvieto,  without  pediment  or  pinnacles.  This 
also  has  a  sense  of  flatness,  but  its  drawing  and  color  are  good.  His 
action  and  attitude  are  better  in  his  smaller  works  than  in  his  larger 
ones.  Another  altar-piece  equally  good  is  in  the  same  place.  The 
Chapel  of  S.  Martin  at  Assisi  was  entirely  decorated  by  Simone,  and 
its  frescoes  are  among  the  very  best  of  his  remaining  works.  There 
arc  frescoes  in  S.  Maria  Novella  of  Florence,  evidently  from  the 
hand  of  a  Sienese  artist,  which  have  been  ascribed  to  Simone,  but 
this  lacks  confirmation,  and  it  is  more  than  probable  that  he  painted 
no  great  work  at  Florence ;  he  probably  sent  there  from  Siena  the 
altar-piece  for  the  Gondi  Chapel,  of  which  Vasari  speaks,  and  some 
other  works.  Simone  travelled  much.  He  was  universally  admired 
and  welcomed.  The  works  he  did  at  Avignon,  and  his  portrait  of 
Laura,  which  Petrarch  admired,  have  perished.  A  few  remaining  in 
a  hall  and  the  chapels  of  the  Papal  Pal.  are  too  much  injured  to 
warrant  consideration.  Besides  the  works  already  mentioned,  there 
is  an  "  Annunciation  "  in  the  Uffizi,  dated -1333,  and  painted  by 
Simone  and  Lippo  Memmi  together;  a  beautiful  small  picture  in  the 
Liverpool  Institution,  illustrating  the  text,  "  Behold,  thy  father  and 
I  have  sought  Thee,  sorrowing,"  and  a  "  Madonna  and  Child  "  in  the 
Berlin  Mus.  A  few  other  works  are  attributed  to  him,  but  these  are 


394  MARTINI  —  MASACCIO. 

the  most  authoritative.  From  the  sonnets  of  Petrarch  it  would  seem 
that  he  was  a  miniaturist.  If  this  be  so,  a  Virgil  in  the  Ambro- 
siana  at  Milan  is  in  all  probability  his  work,  and  the  last  twelve 
illuminations  in  a  Bible  in  the  Royal  Library  of  Paris  were  probably 
executed  by  him  at  Avignon.  He  had  saved  money  and  bought  him 
a  house  in  Siena,  but  in  1338  went  to  reside  with  his  wife  and 
brother  Donato  at  the  Papal  Court  at  Avignon.  Here  he  became 
the  friend  of  Petrarch  and  Laura,  and  here  he  died.  He  was  child- 
less, and  gave  much  of  his  property  to  the  children  of  Donato. 
Simone  was  second  only  to  Giotto,  to  whom  he  was  a  positive  con- 
trast; Giotto  has  been  called  an  epic  and  Simone  a  lyric  painter,  and 
perhaps  these  words  give  the  difference  between  them  as  well  as  any 
comprehensive  generality  (for  which  alone  we  have  space)  could 
do.  Simone  was  full  of  joy,  tender  sentiment,  graceful  and  beautiful 
conceptions,  and  at  the  same  time  sympathetic  with  nature;  all  this 
enabled  him  to  paint  such  pictures  as  are  irresistibly  attractive,  and 
have  made  his  name  one  of  those  never  to  be  forgotten. 

Martos,  Ivan  Petrovitch,  born  at  Ichtnia  (1755-1835).  An 
eminent  Russian  sculptor,  whose  works  are  numerous  in  the  cities  of 
Russia,  and  are  noble  in  conception  and  expression;  his  execution 
was  free  and  finished.  His  bas-reliefs  are  excellent.  He  was 
Councillor  of  State  and  Director  of  the  Acad.  of  Fine  Arts  at  S. 
Petersburgh. 

Marziale,  Marco.  Flourished  1499-1507.  A  painter  of  small 
excellence.  Some  of  his  works  remain  in  the  Acad.  of  Venice,  ch. 
of  S.  Giobbe,  Berlin  Mus.,  etc. 

Masaccio.  Son  of  Ser  Gio.  di  Simone  Guidi,  of  the  family  of 
Scheggia.  Born  at  Castel  S.  Giovanni,  in  the  Val  d'Arno  (1402- 
1429).  -According  to  tradition,  this  great  master  early  manifested  his 
inclination  for  painting.  In  1421  he  was  enrolled  in  the  guild  of  the 
Speziali  at  Florence,  and  in  1424  was  registered  in  the  guild  of 
painters  as  "  Maso  di  Ser  Giovanni  di  Chastello  Sangiovanni. "  His 
name  was  Tommaso  Guidi.  The  name  of  Masaccio  signified  his  want 
of  neatness.  The  only  authentic  accounts  relating  to  his  private  life 
are  in  the  Florentine  registers  of  the  income  returns  for  the  years 
1427  and  1430.  These  show  that  he  was  in  debt,  and  had  disappeared 
previous  to  the  last,  and  was  "  said  to  have  died  at  Rome."  No 
other  positive  facts  have  been  discovered  concerning  him.  There  is 
a  fresco  which  was  uncovered  a  few  years  ago  in  the  ch.  of  S.  Maria 
Novella,  in  Florence,  which,  if  we  credit  Vasari,  is  the  earliest  known 
work  of  Masaccio,  for  he  says  it  was  executed  before  those  of  S. 
Clemente  in  Rome.  It  represents  the  Trinity  between  the  Virgin 
and  S.  John  the  Evangelist,  with  two  kneeling  figures.  The  restor- 
ers have  so  injured  it  that  it  is  difficult  to  judge  of  its  primitive  merit. 
Signer  Cavalcaselle  believes  it  to  be  a  later  work  than  Vasari  makes 
it,  and  yet  it  is  inferior  to  his  latest  works.  The  frescoes  at  S.  Cle- 


MASACCIO. 


395 


mente  were  probably  done  about  1423  or  1424.  They  cover  the 
walls,  arch,  and  vault  of  a  chapel,  and  represent  the  Evangelists, 
Apostles,  Doctors  of  the  Church,  several  Saints,  the  Crucifixion,  and 
scenes  from  the  lives  of  SS.  Catherine  and  Clement.  The  "  Cruci- 
fixion "is  in  advance  of  what  had  preceded  this  master,  but  the 


PETER   BAPTIZING.      BY  MASACCIO. 

From  the  frescoes  in  S.  Maria  del  Carmine,  Florence. 

scenes  from  the  history  of  S.  Catherine  prove  his  power  and  original- 
ity. The  finest  of  these  is  that  in  which  the  Saint  discourses  before 
Maxentius  and  the  Doctors,  but  they  all  display  his  knowledge  of 
form,  and  are  characterized  by  natural  and  graceful  action  and  ex- 
pression. When  Masaccio  returned  to  Florence  he  first  executed,  it 
is  said,  some  pictures  to  prove  his  ability,  and  then  received  the  com- 


396  MASACCIO  —  MASSAKD. 

mission  to  adorn  the  Brancacci  chapel.  These  frescoes  represent  the 
Fall  of  Adam  and  Eve  and  their  Expulsion  from  Eden,  and  various 
events  in  the  life  of  S.  Peter.  Hitherto  some  of  these  works  have 
been  attributed  to  Masolino,  but  Signor  Cavalcaselle,  who  has  made 
a  critical  examination  of  them  and  everything  connected  with  them, 
decides  that  they  belong  to  Masaccio,  and  that  if  Masolino  painted 
there,  his  works  were  upon  the  vault  and  lunettes,  and  are  either  de- 
stroyed or  covered  by  the  more  modern  decorations  of  the  chapel. 
We  cannot  afford  space  for  a  description  of  these  important  and  beau- 
tiful works.  Masaccio  was  a  very  great  influence  in  the  progress  of 
art.  Some  one  has  said  that  he  seemed  to  hold  Giotto  by  one  hand 
and  to  reach  forward  to  Raphael  with  the  other.  The  Brancacci 
frescoes  were  studied  by  the  artists  who  followed  him,  great  and 
small,  and  even  Leonardo,  Raphael,,  and  Buonarotti  were  among  the 
number.  Masaccio  not  only  imitated  the  forms  of  nature,  but  he 
sought  to  represent  her  subtle  shades  of  expression  of  feeling  and 
passion.  He  carefully  studied  his  modelling;  he  grouped  his  figures 
well ;  his  draperies  were  graceful  and  in  massive  folds,  and  yet  did 
not  conceal  the  forms  beneath;  his  coloring  was  rich  and  harmonious, 
and  he  selected  fine  types  of  the  subjects  which  he  represented.  In 
a  word,  he  showed  himself  thoughtful,  appreciative  of  the  ideal,  and 
in  a  good  degree  a  poet  as  well  as  painter;  and  these  qualifications 
united  are  those  which  have  distinguished  the  artists  whose  influence 
has  been  enduring.  Considering  the  art  which  preceded  him,  the 
works  of  Masaccio  are  as  wonderful  as  the  works  of  later  artists  are 
beautiful.  In  the  cloister  of  the  Carmine  at  Florence,  within  a  few 
years,  a  fresco  has  been  uncovered  which  is  apparently  by  him.  It 
is  a  fine  relic,  uninjured  by  restorers,  and  affords  a  good  study  of  his 
manner.  In  the  Acad.  of  Arts  in  Florence  there  is  a  "  Conception," 
painted  by  Masaccio  for  the  ch.  of  S.  Ambrogio.  The  Uffizi  has  two 
portraits  attributed  to  him,  but  there  is  doubt  of  their  genuineness, 
which  is  also  true  of  several  other  works  ascribed  to  him  in  different 
European  galleries. 

Masolino.     See  Panicale. 

Mason,  James  (1710-1780).  This  eminent  English  engraver 
produced  some  landscapes  after  Claude,  Poussin,  and  various  other 
artists,  which  are  much  esteemed.  His  "  Landing  of  .ZEneas  in  Italy," 
after  Claude,  and  "  Venus  at  the  Bath,"  after  Andrea  Sacchi,  are 
especially  fine. 

Massard,  Jean,  born  at  Paris  (1740-1822).  An  engraver  whose 
works  are  well  esteemed.  He  engraved  after  the  best  masters.  His 
"  Death  of  Socrates,"  after  David,  and  "  La  plus  belle  des  Meres," 
after  Vandyck,  are  among  the  best.  Jean  Baptiste  Raphael  Urbain 
Massard,  son  and  pupil  of  Jean,  has  also  left  excellent  plates.  His 
"  S.  Cecilia,"  after  Raphael,  and  "  Apollo  and  the  Muses,"  after 
Giulio  Romano,  are  fine,  as  well  as  many  other  works  of  his. 


MASSON  —  MASSYS. 


397 


Masson,  Anthony,  born  near  Orleans  (1636-1700).  A  very  cel- 
ebrated engraver.  He  used  only  the  graver,  and  handled  it  with 
great  delicacy  and  firmness.  His  portraits  are  very  fine,  and  some  of 
them  are  rare.  His  print  of  "  Christ  at  Emmaus,"  called  u  The 
Tablecloth,"  is  a  chef-d'oeuvre  of  engraving. 

Massys,  Messys,  or  Metsys,  Quintin,  born  at  Antwerp  (1460- 
1530).  Early  in  life  he  was  a  blacksmith,  and  it  is  said  became  a 
painter  for  the  sake 
of  an  artist's  daugh- 
ter whom  he  loved, 
and  whose  father 
was  determined  she 
should  marry  none 
but  a  painter. 
There  are  speci- 
mens of  his  iron 
work  (or  those  said 
to  be  his),  pre- 
served in  Antwerp. 
He  became  a  great 
painter.  His  relig- 
ious works  show 
much  feeling  for 
beauty,  and  a  ten- 
d  e  r  earnestness 
which  reminds  one 
of  the  religious  sen- 
timent of  earlier 
painters.  In  the 
common  episodes 
of  life  which  he  rep- 
resented, he  suc- 
ceeded wonder- 
fully. Lovers, 
frightful  old 
women,  money-changers,  misers,  etc.,  grew  under  his  brush  with 
great  truthfulness.  His  most  important  work  was  an  altar-piece  in 
three  parts,  now  in  the  Mus.  of  Antwerp.  The  figures  are  nearly 
life-size,  as  are  those  of  many  of  his  later  works,  which  was  not  usual 
with  artists  of  his  country.  "  The  Misers,"  at  Windsor  Castle,  is 
one  of  his  most  celebrated  works.  He  painted  many  half-lengths  of 
Christ  and  Mary,  which  are  very  attractive.  His  pictures  are  seen 
in  all  large  European  galleries.  Bryan  gives  a  list  of  sixty-nine  of 
his  works,  and  these  are  not  all.  He  painted  some  portraits.  His 
own  and  that  of  his  second  wife  are  in  the  Uffizi.  In  the  wall  of  the 
Cath.  of  Antwerp  there  is  a  slab  vhich  tells  his  story,  one  sentence 


THE   MISERS.       BY   Q.   MASSYS. 

At  Windsor  Castle. 


398  MASSYS  —  MAZZUOLI. 

of  which  reads,  "  Connubialis  amor  de  Mulcibre  fecit  Apellem." 
He  is  buried  in  front  of  the  Cath.,  and  the  immediate  spot  is  marked 
with  the  simple  inscription,  M.  Q,  M.  obiit  1529.  His  son  Jan  was 
also  an  artist,  and  it  is  believed  that  some  of  the  genre  subjects  attrib- 
uted to  the  father  are  the  work  of  the  son. 

—  Matham.  This  is  the  name  of  a  family  of 

Ay  e/yv»//,<)  Dutch  engravers  of  whom  Jacob  alone  merits 
'  especial  praise.  He  was  born  at  Haerlem  (1571- 
1631).  He  was  a  son-irv-jaw  of  Henry  Goltzius,  under  whose  direc- 
tion he  worked  after  having  visited  Italy.  He  engraved  after  the 
works  of  the  best  masters  of  the  Low  Countries,  and  many  of  his 
plates  are  much  esteemed.  His  son  Theodore,  and  Adrian,  a  rela- 
tive, were  also  engravers,  but  not  equal  to  him. 

Mattoni.     See  Pietro  della  Vecchia. 

m>.  ^  Maurer,  Christoph,  born  at  Zurich  (1558- 
jS/VC  1614)'  A  PuPn  of  Tobias  Stimmer.  He  is 
only  known  by  a  few  plates  and  wood-cuts 
etched  by  himself  and  from  his  designs.  These  are  now  rare. 

Mayno,  Juan  Bautista,  born  at  Toledo  (1569-1649).  Pupil  of 
Teotocopoli,  and  a  fine  painter.  Early  in  life,  he  became  a  Domini- 
can monk,  but  did  not  resign  his  occupation  as  an  artist.  He  in- 
structed Philip  IV.  in  painting,  and  assisted  Alonso  Cano  and  other 
artists.  He  painted  for  Philip  his  celebrated  battle-piece,  in  the 
Bueno  Retire.  His  principal  works  are  in  the  ch.  and  convent  of  S. 
Peter  Martyr,  at  Toledo. 

Mazzolini,  Ludovico,  called  Mazzolini  di  Ferrara,  born  at  Fer- 
rara  (about  1481-1530).  Pupil  of  Lorenzo  Costa.  An  eminent  ar- 
tist in  the  Ferrarese  school  of  his  time.  His  conceptions  have  some- 
thing singular  and  romantic  in  them ;  his  style  is  vigorous  ;  his  color 
brilliant ;  he  had  a  firm  and  solid  touch  ;  his  hands  and  feet  were 
beautifully  finished,  and  his  groups  can  be  examined  in  detail  with 
.pleasure.  There  are  a  number  of  his  pictures  in  private  collections 
in  England,  for  which  large  prices  have  been  paid.  His  most  im- 
portant work  is  in  the  Berlin  Mus.  where  are  also  a  large  number  of 
his  other  pictures.  It  is  dated  1524,  and  represents  "  Christ  in  the 
Temple  with  the  Doctors."  The  National  Gall,  has  two  of  his 
works,  and  others  are  in  the  Doria  Pal.,  and  the  Gall,  of  the  Capitol 
at  Rome. 

Mazzuoli,  Filippo,  born  at  Parma;  died  1505.  Principally  im- 
portant as  the  father  of  Parmigiano.  Some  of  his  works  are  in  the 
Gall.,  and  the  Episcopal  Pal.  of  Parma,  in  the  Museums  of  Naples 
and  Berlin,  and  in  some  private  collections. 

Mazzuoli,  Francesco  Maria,  called  II  Parmigiano  or  Parmigia- 
nino,  born  at  Parma  (1503-1540).  He  was  probably  never  a  pupil 
of  Correggio,  but  he  formed  his  style  after  that  master,  and,  like  all 
who  did  so,  became  grossly  mannered.  Perhaps  the  best  that  can  be 


MAZZUOLI  -  MEDINA.  399 

said  of  him  is,  that  he  was  the  most  excellent  of  the  imitators  of 
Correggio.  His  religious  subjects  are  not  enjoyable.  His  portraits, 
in  which  he  followed  nature,  are  fine.  One,  said  to  be  that  of  his 
mistress,  and  another  called  Columbus,  in  the  Mus.  of  Naples,  are 
splendid.  The  "  Vision  of  S.  Jerome,"  in  the  National  Gall.,  is  one 
of  his  celebrated  works,  and  is  open  to  much  criticism.  The  Virgin 
and  Child  are  its  best  features.  It  is  said  that  he  was  so  absorbed 
by  this  work,  during  the  sack  of  Rome  in  1527,  that  the  invaders 
penetrated  to  his  studio  before  he  realized  what  was  taking  place, 
and  they,  on  their  side,  were  so  moved  by  the  picture,  that  they  left 
him  unmolested.  His  Madonna  with  the  "long  neck,"  in  the  Pitti 
Gall. ,  and  a  S.  Margaret,  in  the  Bologna  Gall.,  are  well-known  pic- 
tures. His  most  important  frescoes  are  in  S.  Giovanni  and  Delia  Stec- 
cata  in  Parma.  For  some  time,  Parmigiano  was  considered  the  in- 
ventor of  etching,  but  this  art  was  practised  in  Germany  before  his  time. 
Bartsch  mentions  fifteen  etchings  by  him,  and  there  are  a  few  others 
which  are  probably  his.  A  number  of  wood-cuts  from  his  designs, 
which  have  been  attributed  to  him,  are  now  known  to  have  been  exe- 
cuted by  other  artists,  under  his  superintendence. 

Mazzuoli,  Giuseppe,  called  D  Bastaruolo,  from  the  occupation 
of  his  father,  who  was  a  corn-chandler.  Born  at  Ferrara  (about  1525- 
1589).  Pupil  of  Dosso  Dossi.  His  principal  works  are  in  his  native 
city. 

Mecherino.     See  Beccafumi. 

Meckenen  or  Mecheln,  Israel  von,  born  at  Meckenen  (1440- 
1503).  Very  little  can  be  positively  affirmed  of  this  old  artist.  He 
was  certainly  an  engraver,  and  for  a  long  time  there  were  a  number 
of  paintings  attributed  to  him,  but  it  is  not  known  that  he  ever  painted 
at  all.  The  chief  picture  called  his  was  a  representation  of  the 
u  Passion,"  on  eight  panels,  at  Cologne.  The  unknown  master  who 
produced  it,  is  now  often  termed  the  "  Master  of  the  Passion,"  and 
the  work  the  "  Lyversberg  Passion,"  on  account  of  its  having  been 
owned  by  Herr  Lyversberg.  There  are  several  other  pictures  some- 
times called  by  his  name,  most  of  them  being  at  Cologne  and  Munich. 
The  engravings  of  this  master  are  very  numerous.  M.  Heineken  es- 
timates them  at  250.  All  the  pictures  which  were  celebrated  in  his 
time,  were  copied  by  him.  He  had  little  artistic  power,  but  suc- 
ceeded better  with  genre  subjects,  than  with  the  works  of  great  mas- 
UTS.  "  The  Concert "  is  one  of  those  well  known.  His  works  are 
valuable  as  showing  the  costumes  and  customs  of  his  time.  He  en- 
graved the  pictures  of  Martin  Schongauer  and  Albert  Diirer. 

Medina,  Sir  John  Baptist,  born  at  Brussels  (1660-1711).  Son 
of  a  captain  in  the  Spanish  service.  He  went  to  England,  and  then 
to  Scotland,  where  he  was  knighted.  He  painted  an  immense  num- 
ber of  portraits.  He  was  accustomed  to  use  lay  figures,  which  he 
arranged  in  the  requisite  position,  and  draped  as  desired,  and  having 


400  MEDINA  —  MELDOLLA. 

copied  these,  he  painted  the  heads  of  his  subjects  on  them.  Many 
of  his  pictures  are  in  Edinburgh,  and  his  own  portrait  is  in  the 
Florentine  Gall. 

Meer,  Jan  van  der,  de  Jonge,  born  at  Haerlem  (1665-1688). 
Pupil  of  his  father  and  Nicolas  Berghem.  He  usually  painted  land- 
scapes with  sheep.  His  works  are  not  often  seen.  There  are  three 
in  the  Berlin  Mus.,  which  show  a  free  handling  and  careful  execu- 
tion. He  left  some  masterly  etchings,  and  some  of  them  are  now 
rare. 

Meer,  Jan  van  der,  called  "  the  Van  der  Meer  of  Delft "  from 
his  birthplace,  born  1632.  This  artist  has  left  but  few  pictures,  per- 
haps not  more  than  six.  They  are  single  figures  and  views  of  streets. 
His  chef-d'oeuvre  is  in  the  Six  Gall.,  at  Amsterdam,  and  represents  a 
servant  maid  pouring  out  milk;  she  stands  in  full  sunlight,  and  the 
color  is  beautiful.  The  Dresden  Gall.,  Van  der  Hoop  Coll.,  Bruns- 
wick Gall.,  Hague  Mus.,  and  Aremberg  Gall.,  all  have  specimens  of 
his  works,  and  all  are  exquisite  in  modelling,  color,  and  execution. 

Meert,  Pieter,  born  at  Brussels  (1618-1669).  A  portrait  painter 
who  imitated  Vandyck.  The  Mus.  at  Brussels  has  pictures  of  the 
magistracy  of  the  city,  by  Meert,  and  the  Berlin  Mus.  has  portraits 
of  a  naval  captain  and  his  wife. 

Meire,  Gerard  van  der,  born  at  Ghent.  Flourished  1450- 
1472.  Very  little  can  be  told  of  this  painter.  He  was  free-master 
of  the  Guild  of  S.  Luke  at  Ghent,  in  1452,  and  junior  of  the  corpo- 
ration in  1472.  His  works  were  praised  by  Van  Mander.  The  best 
picture  now  attributed  to  him  is  a  "  Crucifixion  "  in  a  chapel  of  S. 
Bavon  at  Ghent,  and  is  very  inferior  to  the  works  of  the  Van  Eycks, 
with  whom  he  is  said  to  have  studied.  The  galleries  of  Antwerp  and 
Berlin  have  pictures  attributed  to  him,  which  are  not  equal  to  that 
already  mentioned.  Gerard  van  der  Meire  is  also  believed  to  have 
executed  some  of  the  miniatures  of  the  famous  Grimani  Breviary,  at 
Venice.  Jan  van  der  Meire  was  his  brother,  and  there  were  several 
artists  of  Ghent  of  their  name. 

Melaiio,  Gio.  da.  Flourished  about  1365.  His  works  are  grace- 
ful and  sweet  and  earnest  in  expression.  The  principal  ones  are  in 
the  ch.  of  S.  Francesco,  at  Assisi.  Others  are  in  the  Ognissanti  at 
Florence,  and  in  the  Florentine  Acad. 

.    *       Meldolla  or  Meldola,  Andrea.     An  engraver  who 

A  /T/l  flourished  about  1540.  About  120  prints  are  known 
"  "  *  to  be  his.  Many  of  them  are  after  the  works  of 
Parmigiano,  and  until  the  end  of  the  18th  century  they  were 
attributed  to  that  artist  and  to  Schiavone,  called  Medula.  Zani 
claimed  to  have  made  the  discovery  that  Meldolla  was  a  different 
artist.  He  worked  side  by  side  with  Parmigiano,  and  probably  under 
his  direction;  so  it  is  not  strange  that  he  should  have  the  same 
manner,  which  he  certainly  had,  even  when  engraving  the  works  of 


MELDOLLA  —  MEMLING.  401 

Raphael  Some  of  his  plates  have  his  name  very  distinctly  inscribed, 
but  on  others  it  is  carelessly  etched.  A  part  of  his  prints  are  ex- 
tremely rare. 

Mellan,  Claude,  born  at  Abbeville  (1601-1688).  An  eminent 
designer  and  engraver.  He  first  studied  under  Simon  Vouet,  but 
went  early  to  Rome.  He  was  engaged  to  engrave  the  busts  and 
statues  of  the  Justinian  Coll.  He  first  engraved  in  the  usual  method, 
but  afterwards  adopted  a  manner  of  his  own,  namely,  instead  of 
crossing  his  lines  in  order  to  shade  his  prints,  he  made  them  parallel, 
and  shaded  by  making  them  heavier  or  nearer  together.  This  new 
mode  obtained  celebrity  for  him,  and  its  effect  is  soft  and  pleasing. 
The  number  of  his  prints  is  large,  and  many  are  from  his  own  de- 
signs. One  of  his  finest  works  is  "  Rebecca  meeting  the  Servant  of 
Abraham,"  after  Tintoretto. 

Melzi,  Francesco.  A  noble  of  Milan  who  was  an  intimate  friend 
of  Leonardo  da  Vinci,  and  an  amateur  painter.  His  works  are  rare. 
In  the  Castle  of  Vaprio,  which  belongs  to  the  Melzi,  there  is  an 
immense  fresco  attributed  to  him,  and  at  Berlin  a  "  Vertumnus  and 
Pomona,''  formerly  ascribed  to  Leonardo,  is  now  given  to  Francesco. 
Melzi  inherited  the  studies  and  manuscripts  of  Da  Vinci,  and  fur- 
nished Vasari  and  Lomazzo  with  notices  of  his  life. 

Memling,  Hans.  The  birthplace  of  this  very  important  master  is 
not  known.  He  was  of  the  Van  Eyck  school,  or  the  school  of 
Bruges,  was  a  pupil  of  Roger  van  der  Weyden,  and  sometimes 
worked  conjointly  with  him.  He  seems  to  have  spent  his  youth  at 
Brussels.  Different  records  mention  him  from  1450  to  1499,  at 
which  time  he  probably  died.  Memling  did  not  advance  beyond  his 
predecessors  in  the  linear  portion  of  painting,  but  his  works  were 
characterized  by  grace  and  poetry;  his  drapery  was  more  flowing 
than  that  of  his  master,  and  his  groups  were  symmetrical;  his  color 
and  aerial  perspective  were  truer  than  those  of  Van  der  Weyden ; 
his  men  were  just  good  portraits  of  men,  and  not  at  all  idealized, 
but  his  Madonnas  had  a  lofty  mien  and  a  soft,  meek  beauty,  with  an 
expression  of  dignity  and  religion;  his  pictures  of  the  infant  Saviour 
were  more  natural  in  color,  and  more  youthful  and  beautiful  in 
expression  than  those  which  he  had  seen  from  the  hands  of  the 
great  masters  about  him.  'His  color  was  good,  but  often  so  thin  that 
the  drawing  could  be  seen  through  it.  There  are  many  works  of 
his  remaining,  and  it  is  difficult  to  select  any  one  as  the  very  best. 
The  shrine  of  S.  Ursula,  in  the  Hospital  of  Bruges,  is  of  great  interest 
and  importance.  This  has  eight  pictures  and  six  medallions,  and  rep- 
resents scenes  from  the  legend  of  that  saint  and  her  eleven  thousand 
virgins.  The  whole  shrine  resembles  the  nave  of  a  Gothic  cathe- 
dral. There  are  on  each  side  three  windows  (so  to  speak),  each 
in  a  recess,  where  an  episode  is  painted;  two  other  pictures  adorn 
the  ends,  and  on  each  side  of  the  roof  are  three  medallions.  These 


402 


MEMLING. 


pictures  are  all  chefs-d'oeuvre  of  the  Flemish  school,  but  the  me- 
dallions do  not  equal  the  others.  The  drawing  is  better  in  these 
small  works  than  in  his  larger ;  the  movement  is  free,  the  expression 
excellent,  and  the  color  and  execution  are  soft  and  powerful.  The 


S.   URSULA   LANDING   AT   COLOGNE.      BY   HANS   MEMLING. 

From  the  Shrine  of  S.  Ursula. 

hospital  has  also  his  "  Marriage  of  S.  Catherine,"  two  small  triptych 
altar-pieces,  and  a  "  Virgin  and  Child,"  with  a  portrait  of  Neven- 
hoven,  the  donor.  A  large  altar-piece  in  the  ch.  of  Dantzic  is  an 
important  work  of  Memling's.  His  pictures  are  also  in  the  Munich 
Gall.,  the  Palais  de  Justice,  Paris,  Stuttgart  Gall,  Vienna  Gall., 


MEMLING  —  MENELAUS.  403 

Acad.  of  Bruges,  Cath.  of  Liibeck,  and  Antwerp,  Strasburg,  Uffizi, 
Turin,  and  Kensington  galleries.  There  are  others  in  private  collec- 
tions. His  portraits  were  excellent,  as  is  seen  in  the  votive  pictures 
at  Bruges  and  in  the  Uffizi.  Memling  was  an  excellent  miniaturist, 
as  is  proved  by  his  works  in  the  exquisite  Grimani  Breviary,  in  the 
Library  of  S.  Mark's,  at  Venice,  executed  probably  for  Mary  of 
Burgundy,  daughter  of  Charles  the  Bold.  This  Breviary  belonged 
to  Antonello  da  Messina,  who  sold  it  to  Card.  Grimani  for  500 
ducats.  It  is  now  considered  a  great  treasure.  There  is  a  legend 
that  Memling  accompanied  this  Charles  to  war,  and,  returning  sick 
and  wounded,  was  cared  for  at  the  Hospital  of  Bruges,  in  return  for 
which  he  painted  the  pictures,  now  so  rich  a  treasure  to  that  institu- 
tion. It  has  also  been  affirmed  that  Hans  Memling  and  Juan  Fla- 
menco are  one  and  the  same,  but  these  questions  cannot  be  settled 
by  positive  knowledge,  and  afford  an  unlimited  battle-ground  for 
disputes.  This  much,  however,  seems  impossible,  that  the  hand  that 
painted  his  pictures  could  have  wielded  a  sword,  or  that  one  life 
could  have  given  time  for  aught  but  the  study  of  which  these  are  the 
fruit. 

Memmi,  Lippo,  born  at  Siena;  died  1356.  This  artist  is  impor- 
tant principally  for  having  painted  conjointly  with  Simone  Martini, 
his  brother-in-law,  to  whom  Lippo  was  very  inferior.  In  the  Hall  of 
Justice  at  S.  Gimignano,  in  the  ch.  of  Monte  Oliveto,  near  by,  in 
the  chapel  of  the  Santissimo  Corporale  at  Orvieto,  and  in  a  few 
galleries,  there  are  works  attributed  to  Lippo.  At  Siena  a  fresco 
over  the  door  leading  into  the  convent  of  the  Servi  is  signed  by  him, 
and  is  much  finer  than  any  other  called  his,  as  is  also  a  small 
Madonna  in  the  Berlin  Mus.  Perhaps  this  excellence  is  explained 
by  saying  that  he  painted  much  better  when  under  the  immediate 
eye  and  influence  of  Simone. 

Mena  y  Medrano,  Pedro  de.  Pupil  of  Alonso  Cano.  A  colossal 
statue  of  Santiago  on  horseback,  by  this  master,  still  fills  its  original 
retablo  in  the  Cath.  of  Granada.  He  did  much  work  for  the  cathe- 
drals of  Malaga  and  Toledo,  and  was  at  length  invited  to  Madrid  by 
Don  Juan  of  Austria,  to  execute  a  group  of  our  Lady  of  the  Pillar 
for  the  queen-mother.  This  work  so  attracted  a  prince  of  the  house 
of  Doria,  that  he  ordered  a  crucifix  of  him,  which  was  much  ad- 
mired in  Genoa.  He  spent  the  last  part  of  his  life  at  Malaga,  in 
order  to  be  near  his  daughters,  who  were  nuns  in  that  city.  He 
died  in  1693.  He  was  one  of  the  best  pupils  of  Cano. 

Meiielaus.  The  sculptor  of  a  marble  group  in  the  Villa  Ludovisi 
at  Rome,  representing  a  male  and  female  figure.  It  has  been  called 
by  various  names,  such  as  "  Papirius  and  his  Mother,"  "  Octavia  and 
Marcellis,"  etc.  Otto  Jahn  calls  it  "  Merope  and  .ZEpytus,"  at  the 
moment  when  the  mother  recognizes  her  long  absent  son.  It  is  very 
brautiful,  but  a  certain  impression  arises  from  the  exact  arrangement 
of  the  drapery,  which  lessens  its  power. 


404  MENGS  —  MERIAN. 

Mengs,  Anton  Raphael,  born  at  Anssig  in  Bohemia  (1728-1774). 
His  father  was  a  miniature  and  enamel  painter,  in  which  art  the  son 
was  most  severely  trained.  He  copied  from  antiques  and  the  works 
of  the  best  masters,  until  he  had  acquired  ideas  of  color  from  Titian, 
of  chiaro-scuro  from  Correggio,  composition  from  Raphael,  etc.  But 
the  fire  of  genius  was  wanting;  power  of  invention  and  feeling  were 
not  his,  and  though  he  had,  and  still  has,  warm  admirers,  his  works 
are  cold  and  uninspiring  —  perfect  in  technicalities,  but  void  of  soul. 
He  lived  much  in  Rome,  where  he  was  first  sent  by  the  King  of 
Poland,  who  had  appointed  him  court  painter  when  but  seventeen 
years  old.  In  Rome  he  received  much  patronage,  and  painted  a  ceil- 
ing in  the  Villa  Albani,  the  ceiling  of  the  Camera  de'  Papini  in  the 
Vatican,  etc.  He  was  invited  to  Spain,  where  he  was  much  admired, 
and  did  many  fine  works.  Twelve  of  his  easel  pictures  are  in  the 
Madrid  Gall.,  and  a  "  Nativity,"  lighted  from  the  Child,  like  the 
u  Notte  "  of  Correggio,  is  much  praised.  His  frescoes  in  Madrid, 
especially  the  "  Apotheosis  of  Trajan,"  gained  him  great  reputation. 
His  portraits  are  his  best  works.  These  are  seen  in  the  Uffizi,  Mu- 
nich, and  Berlin  .galleries.  A  "  Cupid,"  in  the  Dresden  Gall.,  done 
in  pastils,  is  a  good  specimen  of  his  work  in  that  manner.  He  also 
wrote  upon  art  subjects,  and  his  observations  upon  notable  pictures 
are  excellent.  The  standing  of  this  artist  has  been  a  matter  of  much 
difference  and  dispute.  By  some,  as  by  Winkelman,  he  is  exalted  to 
the  very  pinnacle  of  fame,  by  others  severely  criticised;  but  one 
thing  is  certain,  that  if  he  had  not  great  virtues  he  had  no  glaring 
faults,  and  gave  a  careful  and  learned  attention  to  the  proprieties  of 
his  art.  His  "  Mount  Parnassus  "  has  been-  engraved  by  Raphael 
Morghen;  and  "  James  dictating  to  History,"  and  a  "  Holy  Family," 
by  Domenico  Cunego. 

Merian, 
Matthew 
the  Elder, 

born  at  Basle  (1593-1651).  This  eminent  designer  and  engraver 
married  a  daughter  of  Theodor  de  Bry,  by  whom  he  was  instructed 
and  advised.  It  is  said  that  Merian  instructed  Hollar.  His  best 
plates  are  views  of  the  environs  of  Heidelberg,  Stuttgart,  Schwal- 
bach,  etc.  He  also  engraved  portraits  and  some  other  subjects  from 
his  own  designs.  A  large  plate  of  the  "  Last  Supper,"  inscribed, 
Accepit  Jesus  panem,  is  very  scarce,  as  is  also  another  of  "  Human 
Life,"  inscribed,  Tabula  Cebetis,  continens  totius  vitce  humance  dis- 
criptionem. 

Merian,  Matthew,  the  Younger,  born  at  Basle,  1621.  Son  of  the 
preceding,  and  pupil  of  Sandrart,  Rubens,  and  Vandyck.  A  reputa- 
ble painter  of  portraits  and  historical  subjects. 

Merian,  Maria  Sybilla,  daughter  of  Matthew,  the  Elder,  born 
at  Frankfort  (1647-1717).  Her  father  died  when  she  was  but  four 


MERIAN  -  MESSINA.  405 

years  old.  Jacob  Murel,  her  step-father,  taught  her  to  paint  flowers 
and  fruit,  and  at  length  placed  her  under  the  instruction  of  Abraham 
Mignon.  She  became  an  excellent  artist,  and  excelled  in  represent- 
ing insects,  butterflies,  etc.,  in  various  stages  of  development.  She 
married  an  artist,  John  Andrew  Graff'  of  Nuremberg,  and  in  1679 
published  a  book  illustrated  by  herself,  giving  a  history  of  the  insects 
of  Europe.  In  1698  she  went  to  Surinam,  and  in  1705  published  her 
second  book  describing  the  insects  of  Surinam.  Her  daughter, 
Dorothea  Graff,  was  also  an  engraver,  and  made  twelve  plates  for  a 
later  edition  of  the  latter  book.  The  British  Mus.  possesses  two 
large  books  of  the  drawings  of  Maria  Sybilla. 

Messina,  Antonello  da,  born  at  Messina  (about  1414-1493). 
There  have  been  great  discrepancies  in  the  accounts  of  this  impor- 
tant old  painter,  but  the  following,  culled  from  all,  is  as  nearly 
correct  as  possible.  His  family  were  painters  for  generations  under 
the  name  of  the  Antouii.  His  grandfather  and  uncle  are  men- 
tioned in  the  "  Memorie  de'  Pittori  Messinesi,"  and  his  father,  Sal- 
vadore  d' Antonio,  was  an  architect  and  painter.  The  latter  was  his 
first  instructor,  and  sent  him  when  young  to  Rome  to  complete  his 
studies.  From  Rome  he  went  to  Palermo,  whence  he  went  to  Mes- 
sina, and  painted  (as  is  believed)  at  this  time  the  "  Virgin  and  Child," 
in  tempera,  on  panel,  now  in  the  Museo  Peloritano  of  that  city.  He 
next  went  to  Naples,  probably  about  1438,  and  became  the  pupil  of 
Colantonio  del  Fiore.  This  master  and  other  painters  of  his  school 
had  some  knowledge  of  the  use  of  oils,  but  did  not  understand  the 
method  of  Van  Eyck.  Antonello  saw  somewhere  a  picture  by  John 
Van  Eyck,  and  immediately  determined  to  go  to  Bruges  and  learn 
his  great  secret  if  possible,  which  he  did.  His  visit  to  Flanders  is 
fully  proved  by  an  old  MS.  which  says,  "  Antonello  Van  Sicilien 
would  not  leave  Flanders  without  bequeathing  to  it  an  example  of 
the  mode  of  coloring  in  oil  which  he  learnt  frojn  John  Van  Eyck.  It 
is  said  that  he  presented  a  picture  to  the  ch.  of  S.  John  (S.  Bavon  of 
Ghent),  for  this  reason."  After  Van  Eyck  died,  Antonello  returned 
to  Messina,  and  soon  went  to  Venice.  Here  he  was  much  employed, 
and  painted  many  portraits.  He  seems  to  have  acquired  Flemish 
finish  and  execution,  but  his  tints  were  more  harmonious  and  beauti- 
ful. From  this  time  his  Italian  tendencies  seemed  to  strengthen  as 
his  later  works  show.  It  has  been  said  that  he  taught  Domenico 
Veniziano  to  paint  in  his  manner,  and  that  he  was  murdered  by  An- 
drea Castagno  for  possessing  the  secret,  but  this  is  now  known  to  be 
false  as  regards  the  murder,  and  no  works  in  oil  done  by  Veniziano 
exist.  In  1465  Antonello  returned  to  Messina,  where  he  received 
pupils,  the  best  of  whom  was  his  son  or  nephew,  Salvo  d' Antonio. 
About  this  time  he  executed  his  most  important  works.  In  1473  he 
went  again  to  Venice  and  received  important  commissions.  He  was 
at  one  time  in  Milan,  but  when  is  not  precisely  known.  He  was  also 


406 


MESSINA  —  METSU. 


in  Treviso  in  1490,  but  returned  to  Venice,  where  he  died,  and  was 
buried  with  great  pomp  by  the  artists  who  honored  his  memory  for 
having  brought  to  Italy  the  oil  painting  of  John  Van  Eyck.  There 
is  a  story,  hardly  creditable,  that  Gio.  Bellini  went  to  Antonello  dis- 
guised as  a  nobleman,  and  desired  him  to  paint  his  portrait,  and  thus 
became  possessed  of  his  secret.  His  most  important  works  are  at 
Berlin;  namely,  a  male  portrait  of  1445;  a  "  S.  Sebastian,"  1478; 
and  a  "Madonna  and  Child,"  which  especially  illustrates  the  Ve- 
netian coloring.  Other  works  of  his  are  a  fine  male  portrait,  in  the 
Louvre;  a  "  Crucifixion,"  in  the  Acad.  of  Antwerp;  a  half  figure  of 
Christ,  in  the  National  Gall.,  1465;  a  reading  Madonna,  in  the  Acad. 
of  Venice;  a  "  Dead  Christ  mourned  by  Angels,"  at  Vienna;  a  male 
head,  in  the  Uffizi;  a  weeping  Nun,  in  the  Acad.  of  Venice;  and  a 
"  Christ  bound  to  a  Pillar,"  in  the  Manfrini  Gall,  of  the  same  city. 

Metsu  or  Metzu,  Gabriel,  born  in  Leyden,  1615;  still  alive  in 
1667.  One  of  the  most  charming  painters  of  genre  subjects.  It  is 
certain  that  he  formed  his  style  after  Terburg.  It  is  not  known  with 

whom  he  studied. 
He  was  the  intimate 
friend  of  Jan  Steen. 
Most  of  his  works  are 
small  —  a  few  por- 
traits are  almost  the 
only  exceptions  — 
and  are  excellent,  a 
matter  of  surprise  in 
a  little  master.  His 
whole  manner  is  ele- 
gant, almost  unex- 
ceptionable. His 
color  is  best  in  his 
earlier  and  middle 
time,  later  it  is  cold. 
He  did  not  finish  so 
extremely  as  some 
artists,  and  thus  has 
more  freedom  and 
expression.  He  loved 
to  paint  people  in 
high  life,  but  also 
represented  fairs, 
markets,  maid  -  ser- 
vants, etc.  Smith  gives  a  list  of  1 60  pictures  by  Metsu.  Many  of 
these  are  in  private  galleries,  especially  in  England,  where  very  high 
prices  have  been  paid  for  them.  They  are  also  seen  in  the  Louvre, 
Hague,  Dresden,  Van  der  Hoop,  Munich,  and  Berlin  galleries.  The 


A   SPORTSMAN.       BY   METSU. 


At  the  Hague. 


METSU  —  MIERIS.  407 

"  Woman  taken  in  Adultery,"  in  the  Louvre,  and  "Justice,"  at  the 
Hague,  are  inferior  works  for  Metsu,  and  show  that  historical  or 
allegorical  subjects  were  not  his  forte.  But  these  galleries  have  other 
fine  works  of  his. 

Meulen,  Anton  Frans  van  der,  born  at  Brussels  (1634-1690). 
Pupil  of  Peter  Snayers.  He  was  made  painter  to  Louis  XIV.,  and 
accompanied  that  king  in  his  campaigns  for  the  purpose  of  represent- 
ing his  battles,  victories,  etc.,  with  perfect  truth.  Considering  the 
sameness  and  want  of  grace  of  his  subjects,  his  pictures  are  remark- 
ably fine.  They  are  numerous,  and  contain  many  portraits  of  Louis 
and  other  notable  men.  His  color  was  good,  and  his  execution  mas- 
terly. Many  of  his  works  are  in  the  Louvre,  some  fine  ones  at  Mu- 
nich, Buckingham  Pal.,  and  Petworth. 

Meyer.  Bryan's  Dictionary  gives  an  account  of  eleven  painters 
and  engravers  of  this  name.  Of  these  the  most  important  was  Felix, 
born  at  Winterthur  (1653-1713).  Pupil  of  Ermels,  of  Nuremburg. 
He  travelled  in  Italy  and  on  his  return  made  himself  a  reputation  for 
decorating  apartments.  He  was  employed  by  several  princes  of  the 
empire  for  this  purpose.  He  also  etched  some  plates  from  his  own 
designs. 

Meyering,  Albert,  born  at  Amsterdam  (1645-1714).  A  reputa- 
ble painter  whose  works  are  not  often  seen  in  galleries.  The  Berlin 
Mus.  has  two  landscapes  with  bathing  nymphs  and  dancing  children. 
He  also  left  twenty-eight  etchings  of  considerable  merit. 

Michau,  Theobald,  born  at  Tournay  (1676-1755).  A  painter  of 
landscapes  with  numerous  figures,  small,  and  well  composed,  but 
poorly  colored.  Two  of  these,  a  summer  and  a  winter  scene,  are  in 
the  Vienna  Gall. 

Miel,  Jan,  born  near  Antwerp  (1599-1664).  He  went  to  Italy  and 
was  associated  with  Andrea  Sacchi.  His  tastes  led  him  to  the  gro- 
tesque, and  he  introduced  something  of  this  in  a  religious  subject  he 
was  painting  with  that  artist.  This  caused  them  to  separate,  and 
Miel  studied  the  pictures  at  Parma  and  Bologna.  After  he  returned 
to  Rome,  he  executed  religious  and  historical  works  with  good  suc- 
cess, but  his  scenes  from  low  life  must  be  admitted  to  be  his  best  pic- 
tures. His  works  are  not  numerous.  They  are  in  the  Louvre, 
Dresden,  Berlin,  Vienna,  Florence,  and  Madrid  galleries.  He  also 
executed  some  etchings  with  masterly  execution  and  charming  effect. 

Mierevelt,  Michael  Janse,  born  at  Delft  (1567-1651).  A  good 
portrait  painter.  His  works  are  said  to  have  numbered  5000.  His 
groups  are  not  equal  to  his  single  heads,  some  of  which  are  very  fine. 
His  pictures  are  in  the  Hotel  de  Ville  at  Delft,  the  Dresden,  Mu- 
nich, and  other  galleries.  His  son  Pieter  was  also  a  portrait  painter. 

Mieris,  Frans  van,  born  at  Leyden  (1635-1681).  Gerard  Dow 
called  him  the  "  prince  of  his  scholars."  He  is  very  little  inferior 
to  his  master,  and  some  writers  prefer  his  works  to  those  of  Dow. 


408  MIERIS  —  MIGNON. 

His  pictures  are  very  small,  and  their  subjects  are  often  from  the 
higher  classes  of  life.  Smith  names  140  pictures  of  his.  The  Munich 
Gall,  is  richest  in  his  works,  and  Dresden,  Vienna,  Florence,  and 
St.  Petersburgh  have  good  examples,  but  the  Louvre  and  English  col- 
lections are  less  fortunate.  The  Hague  has  a  beautiful  "  Boy  blowing 
Bubbles."  «  The  Tinker,"  of  the  Dresden  Gall.,  and  "  The  Charla" 
tan,"  at  the  Uffizi,  are  masterpieces.  His  portraits  of  himself  and 
family  are  fine.  Indeed,  all  his  works  are  full  of  artistic  merit  and 
charming  effect.  He  was  fond  of  Jan  Steen,  though  not  so  dissipated 
as  he ;  still,  he  often  passed  his  evenings  with  his  friend,  and  upon 
one  occasion,  when  going  home,  fell  into  the  sewer,  which  some 
workmen  had  left  uncovered.  Here  he  must  have  perished  but  for 
the  timely  aid  of  a  cobbler  and  his  wife,  who  took  him  out  and  kindly 
cared  for  him.  Not  long  after  he  carried  the  good  couple  a  picture 
of  his  best  manner,  saying  that  the  person  they  rescued  had  sent  it. 
He  recommended  them  to  sell  it  to  Cornelius  Plaats.  The  woman 
went,  expecting  a  small  sum  of  money,  and  was  surprised  to  find 
herself  possessor  of  800  florins  ! 

Mieris,  Willem  van,  born  at  Leyden  (1662-1747).  Son  of  the 
preceding,  to  whom  he  was  much  inferior.  His  best  efforts  are  copies 
of  his  father's  subjects.  The  Dresden  Gall,  has  twelve  of  his  works, 
and  they  are  seen  in  various  collections. 

Mieris,  Frans  van,  the  Younger.  Son  of  Willem  (1689-1763). 
A  painter  of  the  same  subjects  as  the  above,  but  far  weaker  in  draw- 
ing, coloring,  etc. 

Mignard,  Nicolas,  born  at  Troyes  (1605-1668).  He  was  called 
D' Avignon  on  account  of  a  long  residence  there.  He  was  invited  to 
Paris  through  the  influence  of  Card.  Mazarin,  and  employed  at  the 
Tuileries.  He  also  painted  many  portraits,  and  executed  several 
etchings  in  a  spirited  manner. 

Mignard,  Pierre,  born  at  Troyes  (1610-1695).  Brother  of  Nico- 
las, and  called  "  the  Roman,"  from  having  lived  twenty-two  years  in 
Rome,  where  he  was  patronized  by  the  Popes  Urban  VIIL,  Innocent 
X.,  and  Alexander  VII.  He  was  an  imitator  of  Annibale  Carracci. 
His  portraits  were  excellent,  but  his  larger  works  were  characterized 
by  a  false,  theatrical  effect,  which  destroyed  all  his  influence  as  a 
true  artist,  and  helped  to  hasten  the  decline  of  painting  which  fol- 
lowed in  the  next  century.  Louis  XIV.  invited  him  to  return  to 
France.  He  frequently  painted  the  portrait  of  the  King  and  many 
noble  persons.  The  cupola  of  Val-de-Grace  was  his  chief  fresco  in 
France.  He  painted  twelve  frescoes  at  S.  Cloud.  In  1664  he  was 
made  President  of  the  Acad.  of  S.  Luke  at  Rome.  In  1690  he  suc- 
ceeded Le  Brun  as  court  painter,  and  was  elected  Chancellor  of  the 
Acad.  His  portrait  of  Mme.  de  Maintenon  is  in  the  Louvre. 

Mignon,  Abraham,  born  at  Frankfort  (1639-1697).  A  second- 
rate  painter  of  flowers,  fruit,  insects,  etc.  His  works  are  in  many 


MIGNON  —  MOLA.  409 

galleries,  public  and  private.  He  approaches  in  style  to  Jan  D.  de 
Heem,  who  was  one  of  his  instructors.  He  failed  entirely  when  he 
attempted  dead  animals  life-size,  but  some  of  his  small  pictures  at 
Munich  and  Dresden  are  excellent. 

Mind,  Gottfried,  born  at  Berne  (1768-1814).  A  celebrated 
painter  who  excelled  in  representing  cats  and  bears.  Most  of  his 
works  are  in  water-colors,  and  are  wonderful  in  their  imitation  of  the 
soft,  velvety  skins  of  cats,  etc.  When  a  boy  he  carved  animals  in 
wood,  which  were  as  much  sought  after  as  his  drawings.  His  works 
have  been  lithographed  with  great  delicacy  and  nicety.  His  original 
pictures  are  rare,  especially  in  this  country.  I  only  know  of  one, 
which  belongs  to  W.  E.  Doggett  of  Chicago. 

Minderhout,  Hendrik,  born  at  Antwerp  (1637-1696).  A  painter 
of  seaports  and  marine  subjects.  His  works  are  seen  in  the  princi- 
pal collections  of  Flanders. 

jvy.  Mitelli,  Agostino,  born  at  Bologna  (1609- 
1660).  He  painted  many  years  with  M.  A. 
Colonna.  Their  principal  works  were  fres- 
coes in  Bologna,  Parma,  Modena,  Genoa,  and 
Madrid,  where  they  were  invited  by  Philip  IV.  Colonna  executed 
the  figures,  and  at  Madrid  painted  his  celebrated  ' '  Pandora. ' ' 

Mocetto,  Girolamo.  A  disciple  of 
^°*  Bellini,  w^°  flourished  from  1490 
to  1514.  He  is  best  known  as  an  en- 
graver, but  there  are  glass  windows  painted 
by  him  in  S.  Giovanni  e  Paolo  at  Venice,  and  pictures  at  San  Bia- 
gio,  at  Verona;  at  the  Vicenza  Gall.,  and  the  Modena  Mus.  His 
plates  are  very  rare,  and  this  constitutes  their  worth.  Bartsch  de- 
scribes eight,  and  does  not  include  several  which  other  judges  attrib- 
ute to  him. 

j^jy       TVT'^r'  ^TtT  Modena,  Nicoletto  da,  born  at 

LN      IN*       t?"xL      Modena  about  146°-   li  is  known 

that  he  painted  perspective  and 

architecture,  but  he  is  famous  as  one  of  the  earliest  engravers  of 
Lombardy.  His  manner  proves  that  he  was  not  instructed,  but 
studied  out  his  own  method.  Bartsch  describes  more  than  sixty  of 
his  prints,  and  Bryan  twenty-six  not  included  in  Bartsch  or  any 
writer  previous  to  him. 

Moine.     See  Lemoine. 

Mol,  Peter  van,  born  at  Antwerp  (1599-1650).  An  imitator  of 
Rubens.  His  works,  though  inferior,  are  sometimes  ascribed  to  that 
master.  His  pictures  are  in  the  Louvre  and  Antwerp  Mus. 

Mola,  Pier  Francesco,  born  at  Coldra  (1609-1665).  A  good  ar- 
tist of  the  Bolognese  school.  His  historical  subjects  are  excellent, 
and  his  single  figures  fine,  especially  in  color.  Some  of  his  large 
landscapes  are  grand  in  composition,  and  he  excelled  in  glowing 


410  MOLA  —  MONAMY. 

evening  lights.  His  light  and  shade  are  always  fine.  His  works  are 
seen  in  public  galleries,  and  are  in  many  private  collections  in  Eng- 
land. We  have  a  few  spirited  etchings  by  him. 

Mola,  Jean  Baptists,  born  about  1616-1661.  Pupil  of  Simon 
Vouet  and  Francesco  Albano.  His  landscapes  are  very  pretty  and 
his  portraits  good.  He  also  executed  a  few  etchings. 

Molenaer,  Jan.  Flourished  1625-1660.  Dutch  painter  of 
scenes  from  peasant-life.  His  works  are  full  of  humor  and  anima- 
tion. The  Berlin  Mus.  has  one  of  his  best  pictures,  a  ballad  singer 
with  a  group  in  the  open  air.  Bartsch  mentions  an  engraving  of  his 
which  is  very  rare;  another  is  in  the  British  Mus. 

Molyn,  Pieter,  born  at  Haerlem,  about  1600.  One  of  the  early 
landscape  painters.  His  works  are  rare  in  public  galleries.  A  good 
picture  by  him,  of  two  cottages  with  rich  woods,  is  in  the  Berlin  Mus. 
He  also  left  four  good  etchings  of  landscapes  with  figures. 

Molyn,  Peter,  called  Tempesta,  from  his  pictures  of  sea-storms,  and 
Peter  de  Mulieribus  from  his  many  mistresses,  born  at  Haerlem 
(1637-1701).  Son  of  the  preceding.  He  painted  wild  animals  re- 
markably well,  the  result,  perhaps,  of  a  nature  sympathetic  with 
theirs.  He  became  a  Papist  and  went  to  Rome  and  married  there. 
He  went  later  to  Genoa  where  he  loved  a  Genoese  lady,  and  hired 
assassins  to  murder  his  wife.  His  crime  was  discovered,  and  he  was 
imprisoned  many  years;  after  his  escape,  he  deserted  his  second  wife, 
and  became  a  fashionable  painter  at  Milan.  Some  of  his  best  works 
were  done  in  prison.  His  pictures  are  in  the  Dresden  and  Vienna 
galleries. 

Mommers,  Hendrik  born  at  Haerlem  (1623-1697).  The  works 
of  this  painter  are  rare  in  public  galleries.  That  of  Berlin  has  one 
not  at  all  pleasing,  representing  a  bare  landscape  with  several 
figures. 

Momper  or  Mompert,  Josse  de,  born  probably  at  Antwerp 
(about  1559-1635).  A  fantastic  landscape  painter.  His  color  is  not 
always  truthful,  and  his  treatment  is  slight.  His  works  are  numerous 
in  public  galleries.  He  was  skilful  with  the  etching  point.  The 
figures  in  his  foregrounds  were  often  the  work  of  other  artists. 

Monaco,  Don  Lorenzo.  A  Camaldolese  monk,  who  was  an  ex- 
cellent artist  about  1413.  He  resided  at  Florence.  Several  of  his 
works  remain.  One  bearing  his  name  is  in  the  Abbey  at  Ceretto. 
It  is  very  large,  15  by  12  feet,  with  three  pinnacles,  pilasters,  etc. 
The  central  subject  is  a  "  Coronation  of  the  Virgin,"  and  there  are 
numerous  other  figures  and  subjects.  One  of  his  best  preserved 
works  is  in  Santa  Trinita,  Florence,  in  the  Bartolini  chapel;  others 
are  in  the  Acad.  of  Florence,  the  ch.  of  Monte  Oliveto,  and  in  the 
National  Gall.  His  works  display  the  characteristics  of  art  in  his 
time. 

Monamy,  Peter,  born  at  Jersey  (1670-1749).  An  indifferent 
painter  of  marine  pictures. 


MONCALVO  —  MONTELUPO.  411 

Moncalvo.     See  Caccia. 

Moni,  Louis  de,  born  at  Breda  (1698-1771).  A  painter  of  kitch- 
ens and  kindred  subjects.  His  works  are  seen  in  choice  collections, 
and  have  considerable  merit. 

Monnicks  or  Monnix,  born  at  Bois-le-Duc  (1606-1686).  The 
works  of  this  master  are  pleasing.  He  painted  landscapes,  market 
scenes,  etc.  He  introduced  ruins,  elegant  arches,  etc.,  with  good 
taste.  Houbraken  says  that  Urban  VIII.  admired  him  so  much  that 
he  retained  him  thirteen  years  in  his  service. 

Monnoyer,  Jean  Baptiste,  called  Baptiste.  Born  at  Lille  (1634- 
1699).  A  flower  painter,  who  was  the  fashion  in  his  day.  Le  Brun 
employed  him  at  Versailles;  he  was  a  member  of  the  Acad.,  and  was 
invited  to  England  where  he  spent  nineteen  years  and  died.  Many 
of  his  pictures  are  at  Hampton  Court,  and  though  not  of  the  best, 
are  still  good. 

Mont,  Del.     See  Delmont. 

Montagna,  Bartolommeo,  born  at  Brescia  or  of  Brescian  parents. 
Flourished  from  1480  to  1523.  He  lived  at  Vicenza,  and  in  1491 
was  called  its  best  painter;  and  he  was,  indeed,  a  fine  master.  Many 
of  his  works  remain,  and  his  progress  can  be  traced  in  them;  the  first 
show  the  formality  of  the  artists  about  him;  then  come  changes  re- 
sulting probably  from  the  effect  of  the  Bellini ;  then  at  length  he 
visited  Padua,  where,  under  the  influence  of  the  works  and  followers . 
of  Mantegna,  he  brought  out  his  full  power.  Many  of  his  works  are 
in  the  Gall,  of  Vicenza,  and  there  this  progress  is  illustrated.  His 
pictures  are  also  in  the  Lochis-Carrara  Gall.,  at  Bergamo;  in  the 
churches  of  Padua;  in  the  Brera,  Venice  Acad.,  Louvre,  etc. 

Montagna,  Benedetto,  born  at  Vicenza.  Flourished  about  1500. 
Son  of  the  preceding,  whom  he  did  not  equal  as  a  painter.  He  is 
noticeable  as  an  engraver,  and  his  prints  are  valued  for  their  age  and 
rarity,  more  than  for  excellence.  They  are  weak  and  imperfect,  but 
are  almost  the  first  engravings  from  the  Venetian  states.  There  are 
about  fifty  prints  attributed  to  him,  many  of  which  bear  his  name. 

Moiitaiies,  Juan  Martinez,  born  at  Alcald  la  Real ;  died  at  Se- 
ville, 1650.  Having  studied  sculpture  under  Pablo  de  Roxas,  he  re- 
moved to  Seville.  He  was  one  of  the  best  sculptors  of  Spain.  He 
usually  colored  his  own  statues,  and  they  were  well  done.  He  ex- 
celled especially  in  carving  cherubs  and  children.  The  ch.  of  S. 
Lorenzo  has  the  hi^h-ultar  and  patron  saint  which  Montanes  exe- 
cuted, and  the  ch.  of  S.  Juan  de  la  Palma,  the  draped  figure  of  S. 
John*  The  Mus.  of  Seville  has  a  kneeling  figure  of  "  S.  Dominick 
scourging  himself,"  and  a  "  Crucifixion,"  which  is  a  fine  specimen  of 
the  work  and  style  of  Montanes.  Stirling  thinks  if  it  were  of  Carrara 
marble,  it  would  rival  the  u  Crucifix  "  of  Cellini. 

Montelupo,  Raffaelle  da  (1503-1570).  This  sculptor  left  an  un- 
finished autobiography,  which  is  of  great  interest;  if  it  could  have 


412  MONTELUPO  —  MORALES. 

been  completed,  it  would  have  been  of  much  value  on  account  of  his 
association  with  the  men  and  events  of  his  day.  He  was  a  pupil  and 
assistant  of  Michael  Angelo,  and  worked  in  the  Medici  chapel  and  on 
the  monument  to  Julius  II.  Together  with  Nanni  Bigio,  he  executed 
the  seated  Popes  in  the  choir  of  S.  M.  Sopra  Minerva,  at  Rome.  He 
was  architect  of  the  Castle  of  S.  Angelo. 

Montorfano,  Gio.  Donate,  born  at  Milan.  Flourished  1495.  The 
principal  reason  that  this  rather  inferior  Milanese  master  is  known  to 
us  is,  that  he  painted  a  "  Crucifixion  "  on  the  wall  opposite  to  that 
on  which  Leonardo  painted  his  "  Last  Supper,  "in  the  refectory  of  S. 
Maria  delle  Grazie ;  and  those  who  go  there  can  but  notice  this  work 
of  Montorfano.  There  are  many  figures,  and  a  formal  line  of  saints 
is  a  great  fault  in  its  composition ;  the  figures  are  correctly  drawn  but 
are  not  beautiful  in  expression,  and  the  whole  effect  is  stiff  and  unar- 
tistic. 

Montorsoli,  Fra  Gio.  Angelo  (1500-1563).  Pupil  of  Michael 
Angelo.  He  led  a  wandering  and  restless  life,  and  imitated  his  mas- 
ter in  sculpture  as  closely  as  a  weaker  mind-  can  follow  a  stronger 
one.  He  became  a  monk  and  a  member  of  the  Servi,  at  Florence. 
He  executed  portions  of  many  works,  ornamented  the  ch.  of  the  Do- 
rias  at  Genoa,  executed  two  handsome  fountains  at  Messina,  etc.  He 
had  no  great  excellence. 

Moor,  Karel  van,  born  at  Leyden  (1656-1738).  Pupil  of  Gerard 
Dow,  Abraham  van  den  Tempel,  and  Franz  van  Mieris.  He 
painted  sacred  and  profane  history  in  large  and  small  pictures,  but 
his  portraits  were  his  best  works.  He  imitated  Gerard  Dow  in  his 
small  pictures,  and  etched  a  few  portraits  from  his  own  designs, 
among  which  were  those  of  Dow  and  Mieris. 

Morales,  Luis, called  "  the  Divine,"  born  at  Badajoz  (1509-1586). 
School  of  Estremadura.  The  first  Spaniard  who  had  a  place  among 
the  masters  of  painting  in  Europe.  Little  is  known  of  his  life. 
About  1564  Philip  II.  sent  for  him.  He  appeared  in  a  dress  so 
magnificent  as  to  displease  the  King,  who  ordered  that  he  should  be 
paid  a  sum  of  money  and  dismissed.  But  Morales  declared  that  he 
had  spent  all  he  had,  with  the  object  of  coming  before  Philip  in  a 
dress  befitting  the  dignity  of  the  King.  This  reconciled  the  monarch. 
His  pictures  were  all  of  sorrowful,  religious  subjects.  Few  of  them 
have  left  his  native  country.  The  Louvre  has  one  of  "  Christ  bear- 
ing his  Cross,"  which  resembles  "  Christ  crowned  with  Thorns,"  in 
the  Queen  of  Spain's  Gall.,  which  last  is,  perhaps,  his  chef-d'oeuvre. 
Some  of  his  works  are  at  Cordova  and  Seville,  and  they  are  found  in 
the  churches  and  convents  of  Estremadura,  but  they  are  now  rare- 
He  always  painted  on  panels.  He  finished  with  great  care,  but  his 
drawing  was  often  incorrect,  and  his  colors  sombre  and  sometimes 
cold.  He  excelled  his  Spanish  contemporaries.  When  the  King 
visited  Badajoz  in  1581,  he  saw  the  artist  in  a  very  different  garb 


MORALES  -  MORGHEN.  413 

from  that  in  which  he  had  appeared  at  court.  "  Morales,  you  are 
very  old,"  said  Philip.  "  Yes,  sire,  and  very  poor,"  he  answered. 
Philip  commanded  that  he  should  have  200  ducats  of  the  crown  rents 
of  Badajoz  for  his  dinner.  Morales  exclaimed,  "  And  for  supper, 
sire?  "  This  aptness  pleased  the  King,  and  he  added  100  ducats 
more.  Badajoz  has  named  for  him  the  street  in  which  he  lived. 

Morando,  Paolo,  born  at  Verona  (1486-1622?).  One  of  the 
best  painters  of  Verona  before  the  time  of  Paul  Veronese.  He  was 
a  disciple  of  the  Moroni,  as  his  works  show.  Fine  specimens  of  this 
master's  manner  are  in  the  National  Gall.,  but  most  of  his  works  are 
in  Verona. 

More  orMoro,  Sir  Anthony,  born  at  Utrecht  (1519-1576).  This 
excellent  portrait  painter  was  a  pupil,  in  early  life,  of  Jan  Schoreel. 
He  went  to  Rome,  but  after  his  return  became  an  imitator  of  Hol- 
bein. He  went  to  Spain  and  was  sent  to  Portugal  to  make  portraits 
of  the  King  and  Queen,  and  afterwards  to  England  to  paint  a  picture 
of  the  Princess  Mary  for  Philip.  He  returned  to  Spain  with  Philip 
after  the  death  of 'Mary,  but  on  account  of  a  personal  freedom  which 
he  took  with  the  King  (he  daubed  his  hand  with  carmine),  he  was 
warned  to  leave  the  country,  and  he  went  to  the  Netherlands. 
Many  of  his  works  were  burned  in  the  Pardo.  His  own  portrait  is 
in  the  Painters'  Gall,  at  Florence.  His  works  may  be  best  studied 
at  Vienna,  but  are  seen  in  other  public  collections. 

Morel,  Bartolome.  A  Spanish  artist  of  the  reign  of  Philip  II. 
He  made  the  bronze  statue  of  Faith  which  is  a  weather-vane  upon 
the  great  belfry  of  Seville.  He  also  made  the  lectern  of  the  choir 
of  the  Cath.  of  Seville,  and  the  beautiful  candlestick  called  the 
Tenebrario,  in  the  same  cathedral.  This  is  of  bronze,  and  modelled 
like  that  of  Solomon's  Temple. 

Morelli,  Gio.  Battista,  died  1665.  Pupil  of  Algardi  at  Rome. 
He  was  summoned  to  Spain  to  assist  with  his  talents  at  the  palaces 
of  Aranjuez  and  Madrid,  at  which  latter  place  he  died. 

Moreelzee,  Paul,  born   at   Utrecht   (1571-1638?). 
8  Painter,  architect,  and  engraver.     His  portraits  were 
his  best  works.     Some  of  his  wood-cuts  are  now  scarce. 
They  are  executed  in  chiaro-scuro,  and  are  pleasing  in 
effect.     One  of  his  pictures  is  in  the  Berlin  Mus. 

Moretto.     See  Bonvicino. 

Morgenstern,  Ludwig  Ernst,  born  at  Rudolstadt  (1737-1819). 
Painter  of  the  interiors  of  churches.  His  works  are  rare.  Two  are 
in  the  Stadel  Institute,  Frankfort. 

Morghen,  Raphael,  born  at  Florence  (1758-1833).  This  most 
celebrated  engraver  of  modern  times  was  the  son  of  an  engraver,  and 
commenced  the  practice  of  his  art  very  early  in  life.  His  first 
important  works,  seven  plates  from  the  Masks  of  the  Carnival  of 
1778,  were  completed  when  he  was  twenty  years  old,  and  he  was 


414  MORGHEN  —  MORONI. 

then  placed  under  the  instruction  of  Volpato  at  Rome,  whose 
daughter  he  afterwards  married.  He  worked  for  a  time  in  con- 
junction with  Volpato,  and  assisted  him  in  engraving  the  "  Parnassus  " 
of  Raphael  and  other  important  works.  His  best  known  plates  are 
the  "Aurora,"  after  Guido;  the  "Last  Supper,"  after  Da  Vinci; 
the  "Transfiguration,"  and  the  "Madonna  della  Seggiola,"  after 
Raphael;  and  many  portraits  which  are  very  fine.  Palmerini,  one  of 
his  pupils,  published  an  account  of  all  his  works.  Raphael  Morghen 
was  accustomed  to  give  Palmerini  an  impression  from  his  plates  in 
all  their  different  stages  of  advancement,  and  this  collection  was 
purchased  for  £1200  by  the  late  Duke  of  Buckingham,  and  is  one 
of  the  most  valuable  and  complete  in  the  world. 

Morin,  John,  born  at  Paris  (1612-1666).  This  fine  engraver  left 
many  valuable  plates,  among  which  the  portraits  are  especially  fine. 
They  are  etched  in  a  masterly  manner,  with  freedom  and  taste,  and 
are  much  esteemed. 

Morland,  George,  born  in  London  (1763-1804).  Son  of  an 
artist,  he  early  showed  his  talent  for  painting.  It  is  said  that  his 
father,  from  mercenary  motives,  forced  him  to  work  continually,  and 
rewarded  him  by  the  indulgence  of  his  appetite  for  rich  food  and 
drink.  His  character  was  pitiful,  and  there  are  no  alleviating  points 
in  it;  he  was  literally  as  much  a  brute  as  those  he  painted.  His 
subjects  were  those  of  rustic  life,  and  his  pictures  contain  many 
animals  wonderfully  well  painted,  but  his  pigs  surpass  all.  The 
latter  part  of  his  life  he  became  careless  and  slovenly  in  his  manner, 
but  the  pictures  of  his  best  time  are  masterpieces  in  their  way,  and 
are  sold  at  large  prices.  • 

Moro,  n.     See  Torbido. 

Moro,  Gio.  Battista  d'Angeli,  born  at  Verona  (1512-1568?). 
Pupil  of  Torbido,  whose  daughter  he  married.  He  was  a  rival  of 
Paul  Veronese,  and  they  painted  together  in  the  Cath.  of  Mantua. 
His  best  works  are  in  the  churches  of  Venice  and  Verona. 

Morone,  Domenico.  An  old  painter  of  whom  no  authentic  ac- 
count can  be  given.  He  was  born  at  Verona,  in  1442,  and  his  name 
is  mentioned  a  few  times  in  the  records  of  the  city,  but  he  is  espe- 
cially interesting  on  account  of  his  son. 

Morone,  Francesco,  born  at  Verona  (1473-1529).  A  fine 
painter  who  executed  many  works.  He  was  the  pupil  and  assistant 
of  his  father,  but  seems  to  have  studied  the  works  of  others.  In 
drawing  he  resembles  Mantegna,  in  color  Montagna,  and  he  imitated 
the  softness  of  the  Umbro-Ferrarese  school.  His  works  are  too 
numerous  for  any  attempt  at  a  description  of  them.  His  master- 
pieces are  in  Verona  in  S.  Maria  in  Organo,  and  pictures  of  his  are 
seen  in  the  Brera,  Lochis-Carrara  Gall.,  Bergamo,  Berlin  Mus., 
National  Gall.,  etc. 

Moroni,  Gio.  Battista,  born  at   Albino,  near  Bergamo  (1510- 


MORONI  —  MOYA.  415 

1578).  Pupil  of  II  Moretto,  and  as  a  portrait  painter  second  only  to 
Titian.  It  is  said  that  when  the  Berganiese  applied  to  the  latter  for 
their  portraits  he  was  wont  to  tell  them  to  go  to  Moroni  if  they  would 
have  good  pictures.  His  historical  works  are  unimportant,  but  his 
portraits  are  in  many  galleries.  His  own  likeness  is  in  the  Berlin 
Mus. 

Mortimer,  John  Hamilton,  born  in  Sussex  (1739-1779).  An 
artist  of  great  talent  and  power,  but  his  paintings  are  few,  and  he  is 
better  known  for  his  etchings  than  for  other  works.  He  lived  too 
fast  to  live  long.  He  was  the  pupil  of  Hudson,  and  the  teacher  and 
friend  of  Reynolds.  His  picture  of  u  S.  Paul  preaching  to  the 
Britons,"  at  High  Wycombe,  is  well  known.  The  "  Battle  of  Agin- 
court,"  and  the  "  Meeting  of  Vortigern  and  Rowena  "  are  the  sub- 
jects of  pictures  exhibited  in  1779.  He  was  elected  a  member  of  the 
Acad.  just  before  his  death.  His  etchings  are  well  esteemed. 

Morto  da  Feltri.      See  Luzzo  and  Giorgione. 

Mostaert,  Jan,  born  at  Haerlem  (1474-1555).  A  good  painter 
whose  works  are  in  the  Mus.  at  Antwerp,  the  ch.  of  Notre  Dame  at 
Bruges,  and  in  some  private  collections.  His  portraits  were  excel- 
lent, and  all  his  figures  are  portrait-like  in  effect. 

Moucheron,  Frederik,  born  at  Embden  (1633-1686).  Pupil  of 
Jan  Asselyn.  He  lived  some  time  in  Paris  and  settled  at  length  in 
Amsterdam.  He  painted  landscapes  indifferently  well.  Some  of  his 
later  works  have  figures  executed  by  A.  van  de  Velde  and  Lingel- 
bach.  His  works  are  seen  in  public  galleries. 

Moucheron,  Isaac,  born  at  Amsterdam  (1670-1744).  Son  of  the 
preceding,  whom  he  imitated  but  did  not  equal.  Seven  of  his  works 
are  in  the  Dresden  Gall.  He  left  a  number  of  good  etchings  from 
his  own  designs. 

Mount,  William  S.  He  may  be  called  the  comic  painter  of  our 
country.  His  subjects  are  rustic  genre,  and  in  them  he  has  done 
full  justice  to  the  humorous  side  of  the  negro's  character.  The 
names  of  some  of  his  pictures  are  sufficient  to  indicate  his  manner  : 
"  Bargaining  for  a  Horse;  "  "  Turning  the  Grindstone;  "  "  Raffling 
for  a  Goose;  "  "  Farmer's  Nooning;  "  "  Dance  of  the  Haymakers," 
etc. 

Moya,  Pedro  de,  born  at  Granada  (1610-1666).  A  pupil  of  Juan 
de  Castillo.  A  desire  to  travel  induced  him  to  enlist  as  a  foot-soldier 
in  the  Flemish  army.  Amidst  the  bustle  of  soldier-life  he  copied  the 
pictures  of  the  Low  Countries.  The  works  of  Vandyck  fascinated 
him,  and,  in  1641,  Moya  went  to  London  to  become  the  scholar  of 
Sir  Anthony.  The  Spaniard  was  kindly  received,  but  to  his  great 
sorrow,  his  instructor  died  within  six  months.  His  improvement 
had  been  such  as  to  astonish  Murillo  when  he  returned  to  Seville. 
His  works  are  very  rare.  In  the  Louvre  there  is  a  large  u  Adoration 
of  the  Shepherds."  It  is  spirited  and  pleasing,  and  has  something 


416  MOYA  —  MUNOZ. 

of  the  softness  and  grace  which  Murillo  perfected.  Mr.  Ford  has  a 
remarkable  picture  by  Moya,  formerly  at  Seville.  It  represents  a 
girl  caressing  a  dusky  swan,  and,  without  doubt,  illustrated  the  fable 
of  Leda,  and  was  originally  a  nude  figure,  but  probably  for  fear  of 
the  Holy  Office,  the  painter  threw  over  her  a  saffron-colored  robe, 
and  added  a  cat,  a  pigeon,  and  a  spaniel,  thus  converting  the  heathen 
myth  into  a  Christian  maiden  surrounded  by  her  pets. 

Mudo.     See  Navarrete. 

Mulinari  or  Molinari,  Stefano.  Flourished  1775.  An  engraver 
of  many  plates  after  the  best  Italian  masters. 

Miiller.  This  is  the  name  of  a  number  of  German  engravers  who 
lived  between  1550  and  the  present  time.  John,  born  at  Amsterdam 
about  1570,  was  a  pupil  of  Henry  Goltzius,  and  an  eminent  artist. 
His  plates  are  numerous.  John  Gottfried,  born  at  Bernhausen 
(1 747-1830).  He  only  engraved  thirty-three  plates.  His  "  Madonna 
di  Seggiola  "  is  considered  by  some  superior  to  that  of  Raphael 
Morghen.  A  "  S.  Catherine,"  after  Da  Vinci, -and  a  "  S.  Cecilia," 
after  Domenichino,  are  among  his  best  prints.  Christian  Friederich 
von,  born  at  Stuttgart  (1783-1816).  Son  of  the  preceding.  He 
left  but  few  plates,  for  after  he  had  executed  but  a  small  number  he 
was  commissioned  to  engrave  the  "  Madonna  di  San  Sisto,"  and  to 
this  work  devoted  his  life.  He  labored  so  constantly  as  to  destroy 
his  health,  and  did  not  live  to  see  a  finished  print  from  it.  The 
proof  arrived  a  few  days  after  his  death,  and  was  suspended  above 
his  body  on  the  day  of  his  burial,  as  the  ' '  Transfiguration  "  had 
been  placed  near  that  of  Raphael.  Several  others  of  the  same  name 
are  less  important. 

Miiller,  William  John,  born  at  Bristol  (1812-1845).  A  land- 
scape painter,  principally  remarkable  for  his  numerous  fine  sketches 
made  during  a  journey  in  Egypt,  up  the  Nile,  and  in  Lycia.  After 
his  death  these  were  sold  for  £4360. 

Mulready,  William,  born  at  Ennis,  County  Clare,  Ireland  (1 786- 
1863).  He  showed  his  inclination  for  art  very  early,  and  when 
thirteen  years  old  had  the  good  fortune  to  meet  with  the  sculptor 
Banks,  who  took  him  into  his  studio  and  befriended  him.  From  this 
time  his  improvement  and  advance  kept  pace  with  his  years,  and  he 
became  an  eminent  artist  of  genre  subjects.  "  The  Sonnet,"  "  First 
Love,"  "  The  Wedding  Gown,"  "  The  Fight  Interrupted,"  "  The 
Wolf  and  the  Lamb,"  and  "  The  Barber's  Shop,"  are  titles  of  a  part 
of  his  pictures,  and  suggest  his  style  of  art,  in  which  he  ranks  next 
Wilkie  among  British  painters. 

Mufioz,  Sebastian,  born  at  Navalcarnero  (1654-1690).  He  stud- 
ied first  under  Claudio  Coello,  and  then  passed  some  time  in  Rome. 
In  1684  he  painted  with  his  former  master  in  the  Cath.  of  Zaragoza. 
When  he  went  to  Madrid  his  works  became  popular,  and  he  was 
employed  in  the  Alcazar.  In  1688  he  was  made  one  of  the  painters 


MUNOZ  —  MURILLO.  417 

to  the  King.  He  deserves  especial  notice  as  the  last  good  painter  of 
Castile.  He  fell  from  his  scaffolding,  and  died,  in  1690.  His  picture 
of  S.  Sebastian  was  taken  to  Paris,  but  is  now  "  the  pride  of  the 
National  Mus.  of  Madrid."  A  portrait  of  Munoz  by  himself  is  in  the 
Queen  of  Spam's  Gall.,  No.  312. 

Murand,  Emanuel,  born  at  Amsterdam  (1622-1700).  Pupil 
of  Philip  Wouvermans.  He  painted  Dutch  farm-houses  with  great 
perfection.  His  works  are  rare  in  public  galleries.  The  Amsterdam 
Mus.  has  one. 

Murano,  Andrea,  Giovanni,  and  Antonio  da.  Three  old 
painters  of  the  Venetian  school  of  the  15th  century.  Pictures  by 
all  of  them  are  in  the  Acad.  of  Venice. 

Murillo,  Bartolome  Estevan,  born  at  Seville  (1617-1682).  As 
soon  as  he  had  learned  to  read  and  write  he  was  placed  under  the 
care  of  Juan  de  Castillo.  By  him  he  was  taught  not  only  the 
use  of  the  pencil  and  brush,  but  also  how  to  grind  the  colors,  prepare 
the  canvas,  and  perform  all  the  mechanical  parts  of  his  calling.  He 
improved  so  rapidly  that  in  a  short  time  he  painted  as  well  as  Castillo 
himself.  When  he  was  twenty-two  years  of  age  his  master  removed 
to  Cadiz.  His  parents  were  either  dead  or  too  poor  to  assist  him, 
and  he  was  compelled  to  support  himself  by  painting  for  the  Feria, 
or  market.  This  was  held  on  Thursdays,  and  it  was  customary  for 
artists  to  go  there  with  their  pictures,  carrying  also  their  brushes  and 
colors,  and  making  alterations  to  suit  the  taste  of  the  purchasers. 
A  few  of  the  pictures  supposed  to  belong  to  this  early  time  of  Murillo 
are  in  striking  contrast  with  his  later  works,  as  they  hang  side  by 
side  in  the  Mus.  of  Seville.  In  1642  Murillo's  desire  to  travel  was 
aroused  by  observing  the  improvement  of  Moya,  who  had  studied  in 
Flanders  and  England.  By  means  of  painting  and  selling  a  large 
number  of  pictures,  which  were  bought  by  American  traders  for  ex- 
portation, he  obtained  money  to  go  to  Rome.  When  he  reached 
Madrid  he  went  to  Velasquez,  then  painter  to  the  King,  and  begged 
for  advice  and  letters  of  introduction.  Velasquez,  pleased  with  the 
answers  to  his  many  questions,  invited  him  to  his  house,  and  pro- 
cured him  admission  to  the  Royal  galleries.  Here  he  passed  two 
years  in  copying  the  works  of  Ribera,  Vandyck,  and  Velasquez.  At 
the  end  of  that  time  his  patron  considered  him  ready  for  Rome,  and 
offered  to  assist  him  in  the  journey.  But  Murillo  determined  not  to 
leave  his  beloved  Spain,  and  returned  to  Seville  early  in  1645.  In 
considering  the  merits  of  this  master  it  should  be  remembered  that 
he  had  never  seen  the  antique  models  which  the  artists  of  Italy  were 
wont  to  study.  All  that  is  comprehended  in  the  word  antique  was 
unknown  to  him,  for  he  left  Madrid  before  the  purchases  of  Velas- 
quez had  been  placed  in  the  Alcazar,  and  the  only  glimpse  of  classic 
art  which  he  obtained  was  through  the  Italian  pictures  in  the  Gall, 
of  Madrid.  His  ideas,  his  models,  and  his  mode  of  expression  were 
27 


418 


MURILLO. 


purely  Spanish.  About  the  time  of  his  return  to  Seville  he  was  em- 
ployed by  the  Franciscans  to  paint  eleven  large  pictures  for  their 
convent.  The  price  they  paid  him  was  small,  but  they  gave  him  an 
opportunity  to  make  his  name,  and  their  house,  famous  throughout 
Spain;  and  from  the  time  that  these  pictures  were  displayed  to  the 
throngs  who  came  to  see  and  criticise,  the  name  of  Murillo  was  placed 
first  among  the  painters  of  religious  subjects  in  Spain.  In  1648  he 


S.    JOHN.      BY   MURILLO. 

Madrid  Mus. 

was  married  to  a  rich  and  noble  wife,  and  was  enabled  to  become  the 
social  leader  and  patron  of  his  order.  From  this  time  his  works  were 
sought  by  all  the  religious  houses  of  Seville.  He  painted  scries  for 
the  Cath.,  for  the  ch.  of  S.  Maria  la  Blanca,  and,  at  length,  his  won- 
derful works  for  the  Hospital  de  la  Caridad.  He  also  painted  for 
the  Capuchins  without  the  walls,  and,  at  the  time  of  his  death,  was 
engaged  in  a  convent  at  Cadiz,  where  he  fell  from  a  scaffold  and  re- 
ceived the  injuries  which  proved  fatal,  while  painting  the  upper  part 


MURILLO.  419 

of  the  large  picture  of  the  "  Marriage  of  S.  Catherine."  The  princi- 
pal group  remains  as  it  was  left  by  him,  and  may  still  be  seen  in  the 
convent,  now  a  hospital,  at  Cadiz.  He  lived  long  enough  to  reach 
Seville,  to  arrange  his  worldly  affairs,  and  died  in  the  midst  of  his 
friends.  He  was  buried  in  the  ch.  of  Santa  Cruz,  beneath  a  picture 
of  the  "  Descent  from  the  Cross,"  before  which  he  was  accustomed 
to  perform  his  devotions.  This  was  in  accordance  with  his  own  de- 
sire. His  grave  was  covered  with  a  slab,  on  which  was  carved,  by 
his  direction,  his  name,  a  skeleton,  and  two  words,  VIVE  MORITV- 
RVS.  The  French  destroyed  this  church,  and  its  site  is  now  covered 
with  weeds  and  debris.  Murillo's  pictures  may  be  divided  into  three 
classes  :  his  first  or  earlier  manner  may  be  styled  cold  (/no) ;  his 
second,  warm  (ca/tWo);  and  his  latest,  vapory  (yaporoso).  To  the 
first  period  belong  his  pictures  of  beggar-boys,  peasants,  and  subjects 
from  common  life.  Both  his  later  periods  were  especially  devoted  to 
religious  subjects.  In  the  first  his  outlines  became  softer,  and  the 
figures  rounder,  than  in  his  early  works ;  but  to  the  last,  or  vapory 
period,  belongs  that  beautiful  atmospheric  effect  in  which  the  dis- 
tinctness of  the  outline  is  lost,  or  shaded  off,  as  in  nature.  Murillo 
excelled  in  the  management  of  drapery,  in  light  clouds,  flowers,  and 
transparent  waters;  and,  while  he  must  yield  to  some  Italian  painters 
in  knowledge  of  the  accurate  rules  of  art,  he  was  endowed  with  the 
power  to  touch  the  heart,  to  awaken  tender  emotions  and  religious 
sympathies.  He  has  justly  been  called  "  the  painter  of  the  Concep- 
tion," and  has  represented  this  subject  with  unrivalled  grace  and 
tenderness.  He  has  varied  the  age,  the  style  of  beauty,  and  the  sur- 
roundings of  the  Virgin,  in  almost  numberless  pictures;  but  all 
breathe  the  same  purity  and  spotless  innocence;  all  are  the  fitting 
representation  of  that  Mother  of  Christ  who  holds  so  high  a  place  in 
the  religion  of  the  South.  It  was  such  pictures  as  those  of  Murillo 
that  inspired  the  cloistered  devotees,  as  they  gazed  upon  them,  day 
by  day,  to  do  their  penitential  work,  and  to  suffer  even  death  itself, 
with  the  hope  that  in  the  future  they  should  be  received  with  appro- 
bation by  this  sweet  Mother  of  their  God.  He  also  painted  a  few 
portraits,  which  are  of  great  beauty  and  value;  and  in  the  front  of 
the  church  of  the  Hospital  of  Charity  there  are  five  large  designs, 
wrought  in  glazed  tiles,  for  which  he  is  said  to  have  made  the  draw- 
ings. He  found  time  in  1658  to  prepare  for  the  establishment  of  an 
academy  of  art  at  Seville.  There  was  much 'labor  involved  in  this, 
but  he  was  at  last  successful,  and  the  first  meeting  for  the  purpose  of 
instruction  was  held  in  1660.  In  character  Mnrillo,  like  Velasquez, 
was  the  favorite  of  his  patrons,  and  found  his  friends  among  his  fel- 
low-artists. He  had  much  good  sense,  was  moderate  in  temper,  and 
wholly  wanting  in  Andalusian  egotism.  Towards  the  poor  he  prac- 
tised the  charity  which  his  pencil  taught ;  and  his  epitaph  is  by  no 
means  untruthful,  when  it  says  that  he  lived  as  one  about  to  die- 


420 


MURILLO. 


The  following  is  a  list  of  a  portion  of  his  principal  works,  and  the 
places  where  they  now  are  :  — 
Moses  striking  the  Rock  in  Ho- 


reb. 

The  Miracle  of  the  Loaves  and 
Fishes. 

S.  Juan  de  Dios,  carrying  a  Sick 
Man. 

The  Guardian  Angel. 

The  Saviour  in  his  Youth. 

The  Baptism  of  Christ. 

Eight  Saints;  busts;  life-size. 

S.  Ferdinand,  armed;  full  length. 

The  Annunciation. 

Three  pictures  of  the  Immaculate 
Conception. 

La  Virgen  de  la  Servilleta. 

S.  John  the  Baptist  in  the  Des- 
ert. 

Adoration  of  the  Shepherds. 

S.  Bonaventura  and  S.  Leander. 

S.  Thomas  of  Villanueva  giving 
Alms  at  the  Door  of  his  Ca- 
thedral. 

SS.  Justa  and  Rufina. 

Portrait  of  a  Bare-footed  Friar. 

Two  Landscapes. 

The  Last  Supper. 

The  Annunciation. 

Three  pictures  of  the  Immaculate 
Conception. 

Our  Lady  of  the  Rosary. 

The  Holy  Family. 

S.  John  Baptist,  as  a  Child,  with 
a  Lamb. 

Adoration  of  the  Shepherds. 

Christ  crowned  with  Thorns. 

Two  pictures  of  the  Crucifixion. 

Conversion  of  S.  Paul. 

8.  Jerome  reading. 

S.  Jerome  in  the  Desert. 

The  Porciuncula. 

S.  Francis  de  Paula. 

Old  Woman  spinning. 

Gypsy  Girl. 

The  Annunciation. 


Seville,  Hospital  of  Charity. 


Seville,  Cathedral. 


Seville,  Public  Mus. 


Seville,  Ch.  of  S.  Maria  la  Blanca 
Madrid,  Queen  of  Spain's  Gall. 


Paris,  Louvre. 


MURILLO. 


421 


Joseph  interpreting  the  Dreams.     Paris,  Louvre< 

Our  Lady  of  the  Immaculate  Con- 
ception; painted  for  the  ch.  of 
S.  Maria  la  Blanca.  "  « 

Our  Lady  of  the  Rosary.  "  " 

Three  pictures  of  S.  Joseph  and 

the  Infant  Saviour.  "  ** 

Four  Sketches  of  the  Prodigal 

Son.  "  " 

S.  Augustine,  with  a  Child,  on 
the  Seashore.  u 

S.  Augustine  washing  the  Feet  of 

Our  Lord.  "  * 

S.  Thomas  of  Villanueva;  two 
pictures.  a 

Beggar  Boy  hunting  Vermin  on 

his  Person.  '*  ** 

Portrait  of  Don  Andres  de  An- 
drade.  tt  *• 

Murillo  in  his  Youth.  "  " 

A  large  coll.  of  drawings  executed 
on  paper. 

Jacob's  Dream. 

The  Assumption  of  Our  Lady. 

S.  Joseph  leading  the  Infant  Sav- 
iour. 

S.  Joseph  holding  the  Infant  Sav- 
iour. 

The  Flight  of  the  Holy  Family; 
two  pictures. 

The  Nativity  of  Our  Lord. 

Adoration  of  the  Shepherds. 

S.  Florian. 

Martyrdom  of  S.  Peter  the  Do- 
minican. 

A  Girl  in  a  Green  and  Red  Dress. 

A  Gentleman  dressed  in  Black; 
called  the  Brother  of  Murillo. 

A  Landscape  with  a  Ruined  Cas- 
tle on  a  Wooded  Hill. 

The  Annunciation  of  Our  Lady. 

Our  Lady  of  the  Immaculate  Con- 
ception. 

The  Madonna,  with  the  Child  on 
her  Knee. 

S.  John  de  la  Cruz. 


St.  Petersburg,  Hermitage. 


Amsterdam,  Public  Mus. 
The  Hague,  Gall,  of  the  King. 


422 


MURILLO  —  MUTINA. 


Our  Lady,  with  the  Infant  Sav- 
iour; two  pictures. 
The  Virgin,  with  the  Saviour  on 

her  Lap. 

Girl,  with  a  Basket  of  Fruit. 
S.  John  Baptist  as  a  Child. 
S.  Joseph  and  the  Infant  Saviour. 
The  Holy  Family. 
A  Girl. 
Our  Lady  with  the  Infant  on  her 

Lap. 

Two  Boys  seated  on  the  Ground. 
Two  Boys  throwing  Dice,  with  a 

Dog  eating  Bread. 
Two  Boys  eating  Bread  and  Fruit, 

with  a  Dog  by  their  side. 
The  Holy  Family. 
S.  John  Baptist  as  a  Child,  with 

a  Lamb. 

Four  drawings  on  Paper. 
S.  Anthony  of  Padua,  kneeling, 

with  the  Saviour  in  his  Arms; 

life-size. 


Florence,  Pitti  Pal, 

Dresden,  Royal  Gall. 

n  u         tt 

Vienna,  Imperial  Gall. 
Vienna,  Esterhazy  Gall. 


Munich,  Leuchtenberg  Gall. 
Munich,  Pinakothek  Gall. 


<t  a  u 

London,  National  Gall. 

a  a  ii 

Print  Room,  British  Mus. 

Berlin,  Royal  Mus. 


ENGRAVINGS   AFTER   THE    WORKS   OF   MURILLO. 

Engraver,  ARDELL,  James  Me.  The  Virgin,  with  a  Glory  of  An- 
gels ;  fine.  S.  Jerome  kneeling  before  a  Crucifix ;  fine.  S.  Francis 
de  Paula. 

Engraver,  CARMONA,  Immanuel  Salvador.  Virgin  and  Child; 
half-length. 

Engraver,  DEAN,  John.     S.  Anthony  of  Padua. 

Engraver,  HALDOU,  John  Louis.     La  Toilette  du  Savoyard. 

Engraver,  MAJOR,  Thomas.     The  Good  Shepherd. 

Engraver,  SPILSBURY,  Inigo.     Flight  into  Egypt. 

Engraver,  STRANGE,  Sir  Robert.  The  Infant  Jesus  plaiting  a 
Crown  of  Thorns.  1787  (?) 

Muscher,  Michiel  van,  born  at  Rotterdam  (1645-1705).  A 
pupil  of  Van  Temple,  Metsu,  and  Van  Ostade.  He  painted  small 
conversations  and  portraits  which  are  excellent.  They  are  seen  in 
some  public  galleries. 

Musis,  Agostino  de,  called  Agostino  Veneziano.    Born 

A  at  Venice  (about  1490-1540  ?).  An  eminent  engraver  and 
a  pupil  of  Marc  Antonio,  whom  he  followed  with  success 
without  being  his  equal.  He  engraved  many  plates  after 
Raphael.  Fine  impressions  of  his  plates  are  very  rare. 
Mutina  or  Modena,  Thomas  of.  In  1357,  the  Emperor  Charles 


MUTINA  —  MYRON. 


423 


IV.  employed  this  painter  at  the  castle  of  Carlstein.  In  the  chapel 
of  the  castle,  two  of  his  pictures  still  remain.  Another  work  in  the 
altar  recess  of  S.  Catherine's  chapel,  at  Carlstein,  is  doubtlessly  his. 
It  represents  a  Madonna  between  an  Emperor  and  Empress,  and  is  a 
picture  of  great  sweetness.  A  Vera  Icon  in  the  Cath.  of  Prague,  is 
attributed  to  him,  and  a  Virgin  and  Child  with  two  warrior  saints  in 
the  Belvedere,  Vienna,  is  inscribed  with  his  name. 

Muziano,  Girolamo  (1528-1592).  A  Brescian  artist,  who  studied 
under  Romanino.  He  became  one  of  the  best  imitators  of  Michael 
Angelo.  His  chief  work  was  "  S.  John  preaching  to  the  Monks  in 
the  Desert,"  in  S.  Maria  degli  Angeli,  at  Rome. 

Myn,  Herman  van  der,  born  at  Amsterdam  (1684-1741).  He 
first  painted  flowers  and  fruit,  and  afterwards  portraits.  He  resided 
some  years  in  London.  Many  English  families  have  his  pictures, 
which  are  rare  in  public  gal- 
leries. He  had  one  daughter 
and  five  sons  who  practised 
painting  in  London ;  of  these 
Gerhart  and  Frans  were  the 
most  successful. 

Mytens,  Daniel,  the 
Elder,  born  at  the  Hague 
(about  1590-1656  ?)  An 
excellent  portrait  painter, 
who  preceded  Vandyck  in 
England.  Some  of  his  works 
are  at  Hampton  Court,  and 
in  other  English  galleries. 
Vandyck  painted  his  por- 
trait, and  it  is  one  of  the 
"  Centum  Icones"  published 
at  Antwerp  in  1645. 

Myron.  This  celebrated 
Greek  sculptor  was  a  native 
of  Boeotia,  and  born  about 
B.  c.  430.  He  was  remark- 
able for  his  difficult  attitudes 
and  his  power  to  represent 
a  variety  of  forms.  Most  of 
his  statues  were  in  bronze. 
The  two  most  wonderful 
works  which  he  did  were  the 
"  Discobolus,"  and  a  Cow,  of 
which  many  writers  speak. 


MARBLE   COPY   OF   MYRON* S   BRONZE  DISK- 
THROWER. 


Massimi  Pal.,  Rome. 


It  was  at  Athens,  and  carried  to  Rome,  it  was  placed  in  the  temple 
of  Peace.     The  praise  awarded  it  proves  it  to  have  been  perfect  in  its 


424  MYRON  -  NAEDI. 

way.  Of  the  quoit-thrower,  we  have  several  copies;  that  in  the 
Massimi  Villa,  at  Rome,  is  undoubtedly  the  best,  and  was  found  on 
the  Esquiline,  in  1782;  others  are  in  the  British  Mus.,  Hadrian's 
Tiburtine  Villa,  the  Vatican,  and  the  Capitoline  Mus.  In  this  work, 
he  had  full  scope  for  the  exercise  of  his  power  to  portray  manly  vigor 
and  strength.  This  is  true  of  another  statue  in  the  Vatican  repre- 
senting Marsyas  regarding  the  flutes  which  the  goddess  rejected. 
The  representation  of  a  momentary  action  renders  the  "  Discobo- 
lus "  wonderfully  effective,  and  we  feel  as  if  we  must  see  the  throw 
made,  and  the  tense  muscles  relaxed,  before  we  can  leave  it.  It  is  an 
example  of  the  highest  Greek  art,  in  the  representation  of  the  phys- 
ical frame  and  difficult  action,  but  it  has  no  intellectual  depth  or 
thought. 

N. 

Nahl,  John  Augustine,  born  at  Berlin  (1710-1785).  A  sculptor 
who  received  commissions  for  the  gardens  of  Potsdam  and  Charlot- 
tenburg.  He  is  well  known  by  his  monument  to  Mme.  de  Langhaus 
in  Hindelbanck,  Switzerland.  This  beautiful  work  is  mentioned  by 
the  poets  Haller  and  Wieland.  At  Cassel,  where  he  lived  from  1755, 
he  did  many  good  works,  among  which  the  statue  of  the  Landgrave 
William  may  be  mentioned  for  excellence.  At  Cassel  he  was  made 
Professor  of  Sculpture. 

Nain,  Louis,  Antoine,  and  Matthieu  Le.  Brothers,  born  at 
Laon,  about  1583,  1585,  and  1593.  Their  works  are  not  separated, 
but  are  usually  marked  Le  Nain.  Their  subjects  were  genre  and 
largely  from  rustic  life.  They  are  carefully  painted,  and  the  faces 
are  varied  in"  expression  and  often  beautiful. 

Naiwinck  or  Naiwyncx,  H.,  born  at  Utrecht  about  1620.  Very 
little  is  known  of  the  landscapes  of  this  painter  outside  his  own 
country,  but  he  left  two  sets  of  landscape  etchings,  numbering  eight 
each,  that  are  esteemed  by  collectors.  Balkema  calls  his  name 
Naenwincx.  His  baptismal  name  is  not  known. 

Nanteuil,  Robert,  born  at  Rheims  (1630-1678).  A  very  eminent 
engraver.  He  also  executed  portraits  in  crayons.  His  engravings 
of  portraits,  both  after  his  own  designs  and  those  of  other  masters, 
are  held  in  high  esteem.  His  manner  was  peculiar;  he  carefully 
modelled  every  shade  of  the  face,  and  for  the  rest  of  the  engraving 
employed  a  different  kind  of  work.  Nanteuil  obtained  from  Louis 
XIV.,  in  1660,  the  edict  which  declared  engraving  to  be  distinct  and 
free  from  the  mechanical  arts,  and  gave  engravers  the  privileges  of 
other  artists. 

Nardi,  Angelo.  An  Italian  painter  who  passed  a  large  portion 
of  his  life  in  Spain  and  was  painter  to  Philip  IV.  He  is  said  to  have 
been  a  pupil  of  Paul  Veronese,  in  whose  style  he  painted.  His  works 
are  seen  in  the  churches  of  Madrid. 


NASMYTH  —  NAVARRETE.  425 

Nasmyth,  Alexander,  born  at  Edinburgh  (1758-1840).  A  land- 
scape painter  whose  works  are  numerous,  but  of  no  extraordinary 
merit.  He  painted  a  portrait  of  Robert  Burns.  Much  of  his  life 
was  devoted  to  teaching,  in  which  he  was  very  successful. 

Nasmyth,  Patrick,  born  in  Edinburgh  (1786-1831).  Son  of  the 
preceding,  to  whom  he  was  superior.  He  was  compelled  by  an 
injury  to  his  right  hand  to  paint  with  his  left.  He  settled  in  London, 
and  lias  been  called  the  "  English  Hobbema."  His  works  are  now 
much  esteemed  by  collectors.  Many  of  them  represent  Scotch 
landscapes. 

Nasoii,  Pieter.  Flourished  about  1670.  A  painter  of  portraits 
which  are  admirable.  His  still-life  pictures  are  most  esteemed,  and 
are  seen  in  the  finest  German  collections.  Two  of  his  pictures  are 
in  the  Berlin  Mus. 

Naucydes.  An  Argive  sculptor.  He  was  the  teacher  of  Poly- 
cleitus  II.  His  gold  and  ivory  Hebe,  a  statue  of  Hecate,  one  of 
Erinna  the  poetess,  a  Discobolus,  and  others,  are  praised  by  ancient 
writers.  There  is  a  statue  in  the  Vatican  believed  to  be  a  copy  of 
the  last-mentioned. 

Navarrete,  Juan  Fernandez,  called  El  Mudo,  because  deaf 
and  dumb,  born  at  Logrono,  1526;  died  at  Toledo,  1579.  There 
were  two  other  Spanish  painters,  Diego  Lopez,  called  also  El  Mudo, 
and  Pedro  el  Mudo,  who  were  mutes,  but  who  must  not  be  con- 
founded with  Navarrete.  He  was  not  born  a  mute,  but  at  three 
years  of  age  became  deaf,  and  so  could  not  learn  to  speak.  He  was 
in  Italy  several  years,  and  a  pupil  in  the  school  of  Titian.  Tibaldi 
was  known  to  say  that  he  did  nothing  of  much  worth  while  in  Italy, 
but  he  was  appointed  painter  to  Philip  II.  in  1568.  He  painted 
eight  pictures  for  the  Escorial,  which  were  his  principal  works. 
Three  of  these  were  burned.  His  picture  of  the  "  Nativity  "  is 
remarkable  for  its  lights,  of  which  there  are  three.  One  is  from  the 
Divine  Infant,  like  that  in  the  "  Notte  "  of  Corregirio;  another  is  from 
the  glory  above,  and  the  third  from  a  torch  in  the  hand  of  Joseph. 
When  Tibaldi  saw  this  picture  he  exclaimed,  "  O  1  gli  belli  pastor! !" 
and  the  picture  has  since  been  called  ' '  The  Beautiful  Shepherds," 
for  the  group  of  shepherds  is  the  best  part  of  the  painting.  The 
oil  UTS  represent  the  "Martyrdom  of  S.  James  the  Great,"  "  S. 
Jerome,"  "  Christ  at  the  Pillar,"  and  the  "  Holy  Family."  In  1576 
he,  painted  "  Abraham  and  the  three  Angels."  This  was  placed  in 
the  entrance  hall  where  the  monks  received  strangers.  He  after- 
wards contracted  for  thirty-two  large  pictures,  but  his  health  pre- 
vented his  finishing  them.  The  contract  stipulated,  among  other 
things,  that  he  should  not  represent  any  cat,  or  dog,  or  any  immodest 
figure.  This  doubtless  arose  from  his  having  painted  a  dog  and 
cat  contending  for  a  bone  in  the  foreground  of  his  "  Holy  Family." 
His  pictures  are  little  known  outside  of  the  Escorial.  The  King  of 


426  NAVARRETE  —  NEEFS. 

Holland  has  a  "Holy  Family,"  and  the  Coll.  of  Lord  Lansdowne 
contains  a  portrait  by  El  Mudo  which  is  a  gem.  Lope  de  Vega 
wrote  a  lament  for  his  death,  and  said, — 

"Ningun  rostro  pinto  que  fuese  mudo."  * 

When  the  "  Last  Supper,"  painted  by  Titian,  arrived  at  the  Esco- 
rial,  it  was  found  to  be  too  large  for  the  panel  in  the  refectory 
for  which  it  was  designed,  and  the  King  ordered  it  to  be  cut.  El 
Mudo  was  in  great  distress  at  this,  and  offered  to  copy  it  in  a  re- 
duced size  in  six  months,  and  to  forfeit  his  head  if  he  failed  to  do  so. 
He  also  intimated  that  he  should  expect  to  be  made  a  knight  if  he 
copied  in  six  months  what  Titian  had  been  seven  years  in  painting. 
But  Philip  persisted  in  cutting  the  painting,  to  the  intense  grief  of 
Navarrete.  While  he  lived  Philip  did  not  realize  his  worth,  but 
after  his  death  he  often  eulogized  him,  and  declared  that  his  Italian 
artists  could  not  equal  his  mute  Spaniard. 

Neagle,  John,  born  in  Boston  (1799-1865).  He  began  to  paint 
coaches,  but  became  a  portrait  painter  in  Philadelphia.  He  made  a 
good  reputation,  and  married  the  daughter  of  the  artist  Sully.  His 
picture  of  Patrick  Lyon,  the  blacksmith  at  his  forge,  now  in  the  Boston 
Athengeum,  gained  him  much  fame.  His  portraits  are  in  Indepen- 
dence Hall,  in  the  Philadelphia  Acad.,  and  in  the  Union  League  Club 
of  that  city. 

Neale,  John  Preston  (1770-1848).  This  eminent  English  en- 
graver is  best  known  by  his  admirable  plates  for  the  following  works  : 
"History  and  Antiquities  of  Westminster  Abbey,"  "The  Seats  of 
Noblemen  and  Gentlemen  of  England,  Wales,  Scotland,  and  Ire- 
land," and  "  Views  of  the  most  interesting  Collegiate  and  Parochial 
Churches  of  Great  Britain,  including  Screens,  Fonts,  Monuments, 
etc." 

Necker  or  Negker,  Josse  de.  An  engraver  on  wood,  of  the  16th 
century.  He  executed  a  part  of  the  prints  of  the  ' '  Triumph  of 
Maximilian,"  by  Hans  Burgmair.  He  usually  signed  his  plates  with 
his  whole  name. 

Neefs,  Fieter,  the  Elder,  born  at  Antwerp  (1570-1651).  Pupil  of 
Hendrik  van  Steenwyck,  the  Elder.  He  painted  the  same  class  of 
subjects,  namely,  church  interiors,  and  excelled  his  master  in  tone  and 
effects  of  light  and  shade.  His  torchlight  effects  are  excellent.  He 
did  not  fancy  the  picturesque,  evidently,  for  his  churches  are  always 
in  good  preservation  and  order.  But  he  enlivened  them  with  figures 
well  arranged.  In  this  he  was  often  assisted  by  Francken  the 
Younger,  Teniers  the  Elder,  and  Jan  Breughel.  Pieter  Neefs,  the 
Younger,  painted  the  same  subjects  as  his  father,  but  in  an  inferior 
manner. 

Neefs,  James,  born  at  Antwerp,  1630.     An  engraver  of  the  works 

1  "No  countenance  he  painted  that  was  dumb." 


NEEFS  —  NEWTON.  427 

of  Rubens,  Vandyck,  and  other  Flemish  masters.     His  best  prints  are 
esteemed  by  collectors. 

Neer,  Aart  or  Artus  van  der,  born  at  Amsterdam  (1619-1683). 
An  eminent  landscape  painter  who  especially  excelled  in  moonlight 
effects,  and  in  representing  conflagrations.  His  pictures  are  in  the 
large  European  galleries.  The  figures  were  sometimes  painted  by 
other  artists.  The  National  Gall,  has  a  fine  one,  with  animals  and 
figures  by  Cuyp.  His  works  are  marked  by  poetic  feeling,  clear  tone, 
and  excellent  finish. 

Neer,  Eglon  van  der,  born  at  Amsterdam  (1643-1703).  Son  of 
the  preceding,  and  an  imitator  of  Frans  van  Mieris.  He  loved  to 
paint  elegantly  attired  ladies;  white  satin  was  a  favorite  dress  with 
him ;  he  was  very  skilful  also  in  portraits.  His  landscapes  and  his- 
torical subjects  are  inferior  to  his  genre  subjects.  Some  of  his  most 
important  works  are  in  private  collections.  The  Munich  and  Dres- 
den galleries  have  his  pictures.  Smith  names  but  forty-three  genre 
subjects  by  him,  and  these  give  him  high  rank  among  painters  of  his 
class. 

Nerroccio  di  Bartolommeo  de'  Landi,  born  in  Siena  (1447- 
1500).  His  remaining  works  are  in  the  Acad.  of  Siena.  He  was  of 
moderate  excellence,  but  was  well  esteemed  in  his  native  city.  He 
was  also  a  carver  and  designer. 

Netscher,  Caspar,  born  at  Heidelberg  (1639-1684).  An  imitator 
of  Terburg  and  Metsu.  His  works  are  very  beautiful.  His  chil- 
dren are  especially  lovely.  His  small  portraits  are  numerous  and 
much  admired.  His  genre  pictures  are  fine,  but  in  historical  and 
allegorical  pictures  he  failed  utterly.  His  composition  was  tasteful, 
his  heads  fine  in  expression,  and  his  execution  admirable.  He  painted 
his  auxiliaries  with  great  taste,  and  gave  to  many  of  his  portraits 
the  appearance  of  fancy  pictures.  The  Dresden  Gall,  is  rich  in  his 
works,  which  are  also  seen  in  large  European  collections,  but  in  Eng- 
land they  are  mostly  in  private  hands.  His  son  Theodore  was  not 
equal  to  his  father  in  any  particular.  Constantin,  born  at  the  Hague 
(1670-1722).  He  imitated  his  father  with  good  success,  but  never 
acquired  his  excellence.  His  most  admirable  works  are  his  small 
portraits.  His  mythological  subjects  are  weak  and  dull.  His  pic- 
tures are  in  Continental  galleries. 

Neuchatel,  Nicolas,  called  Lucidel  (1550-1600).  An  excellent 
Belgian  portrait  painter.  His  picture  of  the  "  Mathematician  teach- 
ing his  Son,"  in  the  Munich  Gall.,  is  masterly. 

Newton,  Gilbert  Stuart,  born  at  Halifax,  N.  S.  (1795-1835). 
His  parents  had  left  Boston  when  that  city  was  evacuated  by  the 
British,  but  in  1803,  after  his  father's  death,  his  mother  returned  to 
Charlestown.  Gilbert  Stuart  was  his  uncle  and  instructor,  although 
they  were  alienated  later  in  life.  Newton  was  a  friend  of  Leslie,  and 
they  were  in  London  together  in  1811.  Newton  ought  to  have  made 


428 


NEWTON  —  NICOLAUS. 


a  good  genre  painter,  but  he  would  not  give  the  labor  necessary  for 
such  works;  he  did,  however,  a  few  choice  things,  which  were 
enough  to  indicate  what  he  might  have  accomplished.  One  of  his 
best  portraits  was  a  cabinet  picture  of  Washington  Irving.  His  like- 
ness of  John  Adams  is  in  the  Coll.  of  the  Massachusetts  Historical 
Society.  Leslie  has  written  his  autobiography,  which  shows  him  to 
have  been  a  man  of  society,  with  fastidious  tastes.  For  some  years 
his  life  was  blighted  by  a  mental  disorder. 

Niccolo  dell'  Abbati.     See  Abbati. 

Nickelen,  Isaac  and  Jan  van.  Father  and  son.  Architectural  and 
landscape  painters  of  some  merit.  Their  works  are  seen  in  some 
Continental  galleries. 

Nicolaus,  Master,  of  Verdun.     This  is  the  name  of  the  artist 


SAMSON  OVERCOMING  THE  LION.      EXECUTED    BY  MASTER  NICOLAUS/  IN    1181. 

From  the  Verdun  altar  at  Kloster-Neuberg. 

who  executed  the  Verdun  altar  at  Kloster-Neuberg,  in  1181.  It  is 
a  very  curious  work,  consisting  of  fifty -one  gilded  plates  of  brass, 
which  are  engraved  in  deep  outlines  which  are  filled  with  red  and 
blue.  The  subjects  are  Biblical,  and  must  have  been  the  work  of  a 
great  artist,  for  they  are  characterized  by  freedom  and  nobleness 
of  design  and  execution.  The  illustration  given  shows  the  forceful 
action  and  energy  of  his  style.  This  is  of  the  same  class  of  work  as 
the  shrine  of  the  Three  Kings  at  Cologne  and  the  relic  cases  at  Aix- 
la-Chapelle  and  Osnabriick.  It  was  a  sort  of  step  between  sculpture 


NICOLAUS  —  NORTHCOTE.  429 

and  painting.  Sometimes  rich  enamel  and  jewels  were  used  with 
gilding  and  engraving. 

Nogari,  Giuseppe  (1700-1763).  A  portrait  painter  whose  works 
have  been  frequently  brought  to  England.  There  is  usually  some- 
thing attractive  about  them.  His  color  is  rich,  and  his  expression 
powerful.  His  Oriental  heads  are  especially  good. 

Nollekens,  Joseph,  born  in  London  (1737-1823).  Pupil  of  Peter 
Scheemakers.  In  1760  he  went  to  Rome.  He  had  already  given 
proof  that  his  talents  were  worth  cultivation.  He  was  very  poor 
when  he  arrived  in  Italy,  but  some  works  which  he  sent  home  were 
well  sold,  and  he  added  to  his  income  by  making  collections  of  rare 
and  antique  fragments,  etc.,  which  found  good  sale  'among  con- 
noisseurs, while  he  retained  a  fine  collection  for  himself.  We  can- 
not form  a  very  exalted  idea  of  the  man  when  we  know  that  he  also 
smuggled  silks,  laces,  gloves,  and  other  articles  by  filling  his  plaster 
casts  with  them;  he  not  only  did  this  but  also  boasted  of  it,  saying 
that  his  bust  of  Sterne  held  the  lace  ruffles  which  he  wore  to  court  1 
When  he  returned  to  England  he  had  such  a  reputation  that  he 
became  at  once  the  fashion,  and  his  studio  was  filled  with  people 
desiring  portrait  busts,  for  this  was  the  one  thing  for  which  he 
became  famous.  In  1771  he  was  elected  to  the  Royal  Acad.  Soon 
after  this  he  was  married  to  Miss  Mary  Welch.  The  busts,  statues, 
and  monuments  executed  by  Nollekens  are  very  numerous.  He  and 
his  wife  were  well  agreed  in  the  practice  of  economy,  and  he  became 
rich;  it  is  said  that  after  her  death  he  was  somewhat  more  self-in- 
dulgent. Nollekens  loved  to  model  small  figures  and  groups  in  clay; 
he  had  them  baked  and  would  not  sell  them,  so  they  became  very 
numerous.  Lord  Yarborough  was  a  true  friend  and  generous  patron 
to  the  sculptor,  and  to  him  he  owed  much  of  his  success.  There  is 
little  that  is  pleasant  in  the  review  of  his  life,  and  his  biographer 
(Smith)  speaks  justly  when  he  says,  after  enumerating  more  than 
1000  of  his  works,  "  Such  and  so  numerous  are  the  works  of  Nolle- 
kens, who  will  long  be  remembered,  not  only  as  having  held  a  con- 
spicuous rank  among  contemporary  artists,  in  an  era  abounding  in 
men  of  genius,  but  as  having,  by  assiduity  rarely  surpassed,  and 
parsimony  seldom  equalled,  amassed  a  princely  fortune;  from  which, 
however,  his  avaricious  spirit  forbade  him  to  derive  any  comfort  or 
dignity,  excepting  the  poor  consolation  of  being  surrounded,  in  his 
dotage,  by  parasites  who  administered  to  his  uniiitellectual  enjoy- 
ments, and  flattered  even  his  infirmities,  in  the  hope  of  sharing  the 
vast  property  which  death  would  force  him  to  resign." 

Northcote,  James,  born  at  Plymouth  (1746-1831).  Pupil  of  Sir 
Joshua  Reynolds.  He  visited  Rome,  became  dissatisfied  with  por- 
trait painting,  and  attempted  historical  and  poetical  subjects,  but  he 
never  produced  anything  above  mediocrity.  His  portraits  were  de- 
cidedly his  best  works.  Northcote  was  also  an  author.  He  coutrib- 


430  NORTHCOTE  —  OLIVER. 

uted  largely  to  "  The  Artist;  "  wrote  the  Life  of  Sir  Joshua  Rey- 
nolds, etc.,  and  a  brief  Analysis  of  his  Discourses;  and  a  Life  of 
Titian.  He  also  published  a  book  of  Fables,  original  and  selected, 
illustrated  by  wood-cuts  from  his  own  designs. 

Nuyen,  Wynand  Jan  Joseph,  born  at  the  Hague  (1813-1839). 
Although  he  died  so  young,  he  had  made  himself  an  enviable  reputa- 
tion as  a  marine  painter.  His  works  are  only  seen  in  rich  collections. 
"  Le  Coup  de  Canon  "  is  one  of  his  chefs-d'oeuvre,  and  represents 
a  view  on  the  Y  off  Amsterdam,  with  a  yacht  from  which  a  gun  is 
fired.  It  was  sold  in  1850  for  £375. 

Nuzzi,  Mario  della  Penna,  called  Mario  da'  Fiori,  born  at  Penna 
(1603-1673).  A  fine  flower  painter.  He  often  painted  garlands  for 
the  decoration  of  the  figures  of  the  Virgin,  saints,  etc.  He  also 
painted  festoons  and  wreaths  around  the  figures  of  Carlo  Maratti. 

o. 

Obregon,  Pedro  de,  born  at  Madrid  (1597-1659).  A  good 
painter  of  history,  whose  works  still  remain  in  some  churches  and 
convents  of  Madrid,  and  also  in  the  private  collections  of  the  same 
city. 

Ochtervelt,  J.  Flourished  about  1670.  His  pictures  represent 
familiar  subjects  and  are  very  excellent,  though  not  equal  to  those  of 
Metsu,  whom  he  resembles  in  manner.  His  works  are  somewhat 
rare.  His  color  and  lighting  recall  the  manner  of  Peter  de  Hoogh. 
Two  of  his  best  pictures  are  in  the  Hague  and  Aremberg  galleries. 

Oggione  or  Uggione,  Marco  d'  (about  1470-1530).  A  scholar 
of  Leonardo  da  Vinci.  Some  of  his  works  are  preserved  in  the 
Brera,  but  he  is  especially  worthy  of  notice  for  having  made  copies 
of  the  "  Last  Supper  "  of  his  master.  One  of  these  in  oil,  the  size 
of  the  original,  is  in  the  Acad.  of  London ;  another  is  in  the  Convent 
of  Castellazzo,  near  Milan.  These  were  painted  from  the  original 
for  people  acquainted  with  it,  and  by  a  pupil  of  its  author;  it  would 
seem  that  they  should  be  entitled  to  much  consideration,  making 
allowance,  of  course,  for  the  different  capabilities  of  the  master  and 
pupil. 

Ohmacht,  Landolin,  born  at  Dunningen  in  Wiirtemberg  (1760- 
1834).  A  celebrated  sculptor.  After  his  early  studies  under 
Melchior,  and  a  residence  of  two  years  in  Rome,  he  settled  in  Stras- 
burg.  He  executed  many  important  monumental  works,  some  of 
which  are  in  the  cathedrals  of  Liibeck,  Speyer,  and  Strasburg.  The 
sculptor  David  is  said  to  have  called  Ohmacht  "  the  Correggio  of 
sculpture."  He  was  an  intimate  friend  of  Klopstock,  of  whom  he 
made  several  busts.  He  executed  some  classical  subjects.  His 
"  Judgment  of  Paris  "  is  at  Nymphenburg. 

Oliver,  Isaac    (1556-1617).     This   English  miniaturist  was   sec- 


OLIVER  —  ORCAGNA.  431 

ond  only  to  Cooper  in  his  department  of  art.  His  finish  of  details, 
such  as  lace,  jewels,  etc.,  was  wonderful.  He  sometimes  copied  the 
pictures  of  other  artists,  such  as  Correggio  and  Titian.  He  painted 
a  few  small  portraits  in  oil,  and  very  rarely  designed  historical  sub- 
jects. His  works  are  much  esteemed  by  curious  collectors.  His  son 
Peter  (1601-1660)  was  instructed  by  his  father,  and  painted  in  the 
same  manner.  His  works  are  fine,  and  sometimes  equal,  but  never 
surpass  those  of  his  father. 

Ommeganck,  Balthasar  Paul,  born  at  Antwerp  (1755-1826). 
Pupil  of  Antonissen.  An  admirable  painter  of  landscapes  and 
animals,  especially  sheep  and  goats.  His  works  were  much  sought 
during  his  life,  and  are  since  increased  in  value.  His  color  is  not  as 
warm  as  we  could  wish,  but  he  depicts  nature  with  great  truthful- 
ness, and  it  is  often  easy  to  tell  the  season  of  year,'  and  even  the 
hour  of  day  which  he  represents  in  his  works,  from  the  manner  in 
which  he  reproduces  the  smallest  characteristics  of  the  scene  he 
paints.  Many  of  his  works  are  in  private  galleries,  but  they  are  also 
seen  in  the  Louvre,  "Brussels  and  Cassel  galleries,  the  Chateau  of 
Wilhelmshbhe,  etc. 

Omodeo  or  Amadeo,  Gio.  Antonio  (1447-1520).  One  of  the 
best  of  the  Lombard  sculptors.  His  works  in  the  Capella  Colleoni,  at 
Bergamo,  rank  with  the  most  splendid  sculptures  of  Upper  Italy; 
his  other  important  labors  were  done  at  the  Certosa  of  Pavia. 

Oost,  Jacob  van,  the  Elder,  born  at  Bruges  (1600-1674).  An 
excellent  historical  and  portrait  painter.  He  acquired  in  Italy 
something  of  the  manner  of  Annibale  Carracci,  but  in  color  and 
realism  he  remained  always  true  to  his  nationality.  Many  of  his 
works  are  in  the  churches  of  Bruges.  The  number  of  his  altar-pieces 
was  very  large.  He  did  not  crowd  his  figures;  he  introduced  archi- 
tectural backgrounds  with  good  effect,  and  gave  fine  expression  to 
his  heads.  His  son,  Jacob  van,  the  Younger  (1637-1713),  estab- 
lished himself  in  Lille,  and  painted  in  the  same  good  style  as  his 
father.  His  portraits  were  very  fine  and  have  even  been  compared 
to  those  of  Vandyck. 

Oosterwyck,  Maria  van,  born  at  Nootdorp  near  Delft  (1630- 
1693).  This  celebrated  flower  painter  was  instructed  by  John 
David  de  Heem.  She  was  famous  in  her  lifetime,  and  princes  and 
sovereigns  sent  to  her  for  her  pictures.  She  grouped  her  flowers 
and  fruit  with  grace;  her  color  was  admirable,  and  her  finish  delicate 
and  excellent.  Her  works  are  rare  and  much  esteemed. 

Orbetto,  L.     See  Turchi. 

Orcagna,  Andrea,  real  name  Andrea  Arcagnuolo  di  Cione.  Ar- 
cagnuolo,  meaning  Archangel, '  has  been  corrupted  into  Orcagna. 
Born  at  Florence  (1329-1376?).  Son  of  Maestro  Cione,  a  gold- 
smith. Orcagna  was  an  architect,  goldsmith,  sculptor,  painter,  mo- 
saist,  and  poet.  He  first  studied  his  father's  craft,  was  next  instructed 


432 


ORCAGNA. 


in  painting,  by  his  brother  Bernardo,  and  then  entered  the  studio  of 
Andrea  Pisano.  He  painted,  with  his  brother,  the  Life  of  the  Ma- 
donna in  S.  Maria  Novella  (now  repainted);  the  great  frescoes  of 
"  Hell  and  Paradise,"  in  the  Strozzi  chapel  of  the  same  church; 
frescoes  in  the  Servi  (now  destroyed) ;  the  facade  of  S.  Apollinare ; 
the  "  Coronation  of  the  Virgin,"  now  in  the  National  Gall.;  and 
then,  as  has  always  been  said,  the  great  frescoes  of  the  "  Triumph 


of  Death  "  and  the  "  Last  Judgment,"  in  the  Campo  Santo  of  Pisa. 
Signor  Cavalcaselle  doubts  the  truth  of  these  being  the  work  of 
Orcagna;  but  if  this  author  is  right,  enough  remains  to  show  that 
he  was  the  greatest  painter  who  had  succeeded  Giotto.  He  united 
the  dramatic  force  of  composition  of  the  Florentine,  with  the  tender- 
ness of  color  of  the  Sienese  school.  He  practised  a  kind  of  fore- 
shortening. His  perspective  could  not  be  tested  by  scientific  rules, 


OBCAGNA  —  ORLEANS.  433 

but  it  was  all  that  could  be  done  without  them.  He  attained  to  more 
relief  and  roundness  of  form  than  Giotto  had  done;  his  color  was 
well  fused,  transparent,  and  soft,  while  yet  brilliant,  and  his  atmos- 
pheric effects  were  advanced  for  his  time.  All  this  fully  entitles  him 
to  the  fame  of  having  been  a  great  representative  of  progress  in 
painting.  As  an  architect,  he  was  summoned  from  Orvieto  (where 
he  was  employed),  to  change  the  loggia  which  Arnolfo  del  Cambio 
had  built  into  a  church,  and  to  erect  a  tabernacle  in  it  for  the  shrine 
of  the  famous  Virgin,  which  Ugolino  da  Siena  had  painted  upon  one 
of  the  pilasters  of  the  loggia.  The  commission  was  given  him  by  the 
brotherhood  of  Or  San  Michele.  This  tabernacle  is  a  wonderful  ex- 
pression of  the  spirit  of  medieval  art.  Perkins  thus  speaks  of  it : 
"  Built  of  white  marble  in  the  Gothic  style,  enriched  with  every  kind 
of  ornament,  and  storied  with  bas-reliefs,  illustrative  of  the  Madonna's 
history  from  her  birth  to  her  death,  it  rises  in  stately  beauty  towards 
the  roof  of  the  church,  and  whether  considered  from  an  architectural, 
sculptural,  or  symbolic  point  of  view,  must  excite  the  warmest  admi- 
ration in  all  who  can  appreciate  the  perfect  unity  of  conception 
through  which  its  bas-reliefs,  statuettes,  busts,  intaglios,  mosaics,  and 
incrustations  of  pietre  dure,  gilded  glass,  and  enamels  are  welded  into 
a  unique  '  ensemble.'  "  His  next  great  work  was  the  u  Loggia 
de*  Lanzi,"  which  was  constructed  for  a  place  of  public  assembly  and 
discussion  in  rainy  weather.  It  was  named  from  its  nearness  to  the 
guard-house  of  the  German  Landsknechts  or  Lanzi.  This  was  probably 
unfinished  at  the  time  of  his  death.  His  brother  Bernardo  succeeded 
him  as  architect  of  the  Commune.  Orcagna  was  employed  as  a  mo- 
saist  in  the  Cath.  of  Orvieto.  He  was  an  admirer  of  Dante,  and 
made  sonnets,  called  clever  by  the  judges  of  his  time.  Viewed  in  any 
light,  he  stands  forth  honorably;  as  a  great  genius,  a  noble  artist,  a 
man  of  profound  thought,  and  in  his  life,  according  to  Vasari, 
"  pleasant,  courteous,  and  amiable." 

Orizonte.     Sec  Bloemen. 

Orleans,  Marie,  Princess  of,  born  at  Palermo  (1813-1839). 
Daughter  of  Louis  Philippe,  and  wife  of  Duke  Alexander  of  Wiir- 
temberg.  She  had  great  artistic  talents,  and,  though  she  died  so 
young,  left  works  behind  her  which  insure  her  unending  fame.  At 
Versailles  is  her  celebrated  statue  of  Joan  of  Arc,  in  which  she  has 
represented  the  maiden  warrior  as  having,  for  the  first  time,  killed  a 
man  with  her  battle-axe ;  she  is  moved  with  contending  and  powerful 
emotions;  she  believes  that  God  has  strengthened  her  arm,  and  will 
help  her  to  deliver  France,  and  this  imparts  a  noble  pride  to  her  fea- 
tures; at  the  same  time,  the  young  maiden  trembles,  and  gazes  upon 
blood  and  death  with  consternation.  It  is  full  of  spirit  and  anima- 
tion. She  modelled  a  dying  Bayard,  which  was  never  executed  in 
large  size.  A  beautiful  angel  in  white  marble  adorns  the  sarcopha- 
gus of  her  brother,  in  the  chapel  of  Sablouville,  and  seems  like  a  work 


434  ORLEANS  —  OSTADE. 

of  inspiration.  She  also  made  some  designs  for  glass  painting.  In  a 
chapel  at  Fontainebleau,  there  is  a  glass  painting  of  S.  Amalia,  the 
patroness  of  her  mother,  made  from  her  design,  and  much  admired 
by  connoisseurs.  She  was  as  beautiful  in  her  life,  as  in  her  art. 
When  she  proceeded  to  Wiirtemberg,  she  was  received  with  great 
enthusiasm.  Then  she  suffered  misfortune ;  their  castle  was  burned ; 
her  health  failed,  and  she  went  to  Pisa,  in  hopes  of  restoration ;  here, 
a  few  days  before  her  death,  she  asked  for  more  light  in  her  apart- 
ment, and  spent  an  hour  in  drawing. 

Orley,  Bernhard  van,  born  at  Brussels  (1471-1541).  When 
quite  young,  this  painter  entered  the  school  of  Raphael,  at  Rome. 
After  his  return,  he  was  court  painter  to  Margaret  of  Austria  and  her 
successor,  Mary  of  Hungary.  He  painted  a  large  number  of  altar- 
pieces,  and  was  also  much  employed  with  cartoons  for  tapestry  for 
the  court.  Although  he  adopted  much  of  the  Italian  manner,  his 
execution  is  always  careful,  and  his  color  cool  in  tone.  His  pictures 
are  seen  in  the  Mus.  of  Brussels;  ch.  of  Our  Lady,  at  Liibeck ; 
Vienna  Gall.;  chapel  "  des  Orphelins,"  at  Antwerp;  Liverpool  In- 
stitution, etc.  The  shrine  with  double  wings,  at  Liibeck,  is  his  most 
considerable  work;  it  represents  the  "Annunciation;"  the  "Latin 
Fathers;  "  the  "  Sibyl  showing  the  Vision  to  the  Emperor  Augus- 
tus; "  the  "Vision  of  the  Apocalypse  to  S.  John;"  and  the 
"  Trinity."  In  many  respects,  this  is  an  excellent  work.  The  Gall, 
of  the  King  of  Holland  has  several  pictures  by  Van  Orley. 

Orrente,  Pedro,  born  at  Montealegre,  Murcia  (1560-1644).  He 
visited  Italy,  and  upon  his  return  became  a  favorite  of  the  Duke  of 
Olivarez.  He  was  employed  at  Bueno  Retire,  and  his  works  are  now 
seen  in  all  large  Spanish  cities.  They  are  also  in  the  Royal  Gall. 

Ortolano,  L'.     See  Benvenuto. 

OB,  Jan  van,  born  at  Middelharnis  (1744-1808).  A  distinguished 
painter  of  fruit  and  flowers.  His  works  are  in  great  request,  and 
rank  next  those  of  Van  Huysum.  They  are  rare  in  public  galleries. 
His  son,  George  Jacob  Jan  van  Os,  also  excelled  in  the  same  style  of 
painting  as  his  father's;  but  another  son,  Pieter  Gerhard  (1776- 
1839),  became  a  distinguished  animal  painter.  He  imitated  Paul 
Potter  and  Karel  Du  Jardin.  His  works  are  in  the  choicest  collec- 
tions, and  his  etchings  from  his  own  designs  and  those  of  other  artists 
are  much  esteemed. 

Osorio,  Francesco  Meneses,  born  at  Seville.  Flourished  about 
1725.  A  pupil  of  Murillo,  whose  works  he  copied  perfectly,  excelling 
particularly  in  those  of  children.  After  the  death  of  his  master  he 
partly  finished  the  "  S.  Catherine  "  upon  which  Murillo  was  engaged 
when  he  died.  The  works  of  Osorio  are  in  the  ch.  of  S.  Martin  at 
Seville,  the  Hospital  of  Cadiz,  and  other  public  places. 

A    Ty^x       m  f        Ostade,  Adrian  van,  born  at  Liibeck  (1610- 

J\  C/  JY        1685).     One  of  the  most  excellent  among  the 

Dutch  genre  painters,  for  though  born  at  Liibeck 


OSTADE  —  OVERBECK.  435 

he  went  when  young  to  Haerlem,  was  a  pupil  of  Frank  Hals,  and 
settled  at  last  in  Amsterdam.  His  color  resembles  that  of  Kembrandt, 
and  his  chiaro-scuro  also  recalls  that  master.  He  had  little  eye  for 
beauty  of  form,  or  grace  of  motion;  his  children  are  rarely  pretty, 
and  his  subjects  are  never  more  elevated  than  the  scenes  of  common 
peasant  life.  But  of  these  he  chooses  the  best;  his  works  illustrate 
contentment  and  humble  happiness,  rather  than  drunken  brawls  and 
disgusting  orgies.  Kugler  well  says  that  his  pictures  ' '  afford  a 
striking  proof  that  works  of  art,  in  spite  of  great  deficiencies,  may  yet, 
if  only  possessing  excellences  of  one  class,  offer  high  attraction  to 
the  cultivated  eye ;  the  excellences  of  Ostade  consisting,  namely,  in 
genuine  feeling  for  nature,  picturesqueness  of  arrangement,  harmony 
of  color  and  chiaro-scuro,  and  extraordinary  technical  mastery." 
Smith  mentions  about  385  of  his  works.  Many  of  the  best  are  in 
England,  but  they  are  seen  in  all  large  European  galleries.  It  is 
wonderful  how  their  value  has  increased;  for  instance,  one  sold  in 
1802  for  £340  brought  £1386  in  1844.  He  also  made  numerous 
drawings  in  semi-opaque  color,  which  are  now  very  valuable,  and 
about  fifty-four  etchings  from  his  own  designs,  which  are  esteemed 
highly.  He  married  the  daughter  of  Van  Goyen,  and  had  a  large 
family ;  he  left  Haerlem  intending  to  return  to  Liibeck,  where  he 
hoped  better  to  support  his  household,  but  his  pictures  were  so  much 
appreciated  in  Amsterdam  that  about  1662  he  settled  there  for  life, 
made  the  neighboring  villages  the  scenes  of  his  study,  and  gave  him- 
self quietly  to  the  work  of  picturing  "  the  short  and  simple  annals  of 
the  poor." 

Ostade,  Isaac  van,  born  at  Liibeck  (161 7  7-1671  ?).  Brother  and 
pupil  of  Adrian.  He  adopted  a  little  different  class  of  subjects,  and 
represented  travellers  halting  at  inns,  village  scenes  with  animated 
figures,  etc.  He  attempted  in  many  ways  to  imitate  Adrian,  espe- 
cially in  the  vines  hanging  from  porches  and  other  portions  of  cottages. 
Adrian  excelled  especially  in  this  feature  of  his  works,  and  Isaac  im- 
itated him  well.  He  was  earliest  appreciated  in  England,  and  his 
works  are  somewhat  rare  in  Continental  galleries,  where  pictures  of 
a  much  poorer  master  are  sometimes  called  by  his  name.  His  pic- 
tures are  also  of  value,  and  are  eagerly  sought  by  collectors.  His 
best  works  were  executed  from  1644  to  1650. 

Oudenarde.     See  Audenarde. 

Oudry,  Jean  Baptiste,  born  at  Paris  (1686-1755).  He  espe- 
cially excelled  in  painting  hunting  pieces  and  animals,  and  many  of 
his  works  are  seen  in  the  royal  palaces  of  France. 

Overbeck,  Frederick,  born  at  Liibeck  (1789-1869).  In  1810  he 
fixed  his  residence  in  Rome,  where  he  died.  He  endeavored  to  teach 
and  practise  upon  the  principle  that  art  exists  not  alone  for  beauty, 
but  should  be  consecrated  to  the  service  of  religion.  He  attempted 
to  reestablish  the  ascetic  art  of  past  centuries,  and  gathered  about 


436  OVERBECK  —  PACCHIAKOTTI. 

him  in  Rome  other  artists  who  were  fascinated  with  his  doctrine. 
The  "History  of  Joseph"  in  La  Salle  Bartoldi,  and  "Jerusalem 
Delivered  "  at  the  Villa  Massimi,  are  grand  frescoes  executed  under 
his  direction.  Among  his  oil  paintings  are  the  "  Entrance  of  Christ 
into  Jerusalem,"  ch.  of  Notre-Dame  at  Liibeck;  "  Christ  on  the 
Mount  of  Olives,"  at  Hamburg;  the  "  Marriage  of  the  Virgin;  "  va- 
rious Holy  Families;  the  "  Influence  of  Art  upon  Religion,"  etc. 

Ovens,  Jurian,  born  at  Amsterdam  (about  1620-1675?).  Pupil 
of  Rembrandt.  He  excelled  in  portraits  and  the  representation  of 
night  scenes.  The"  Conspiracy  of  Claudius  Civilis,"  in  the  Town 
Hall  of  Amsterdam,  is  a  chef-d'ceuvre.  In  the  Huyssittenhuys  at 
Amsterdam  there  is  a  picture  of  seven  Regents  sitting  round  a  table, 
which  is  excellent  for  its  animation  and  powerful  treatment. 

P. 

Pacchia,  Girolamo  del,  born  at  Siena  (1477-1535  V).  Son  of  a 
Hungarian  who  made  himself  famous  as  a  founder  of  cannon.  Noth- 
ing is  known  of  the  teachers  of  Del  Pacchia.  In  1500  he  was  in 
Rome,  and  from  1508  to  1511  he  painted  pictures  which  are  known 
only  by  the  accounts  of  them.  The  earliest  of  his  remaining  works 
are  in  the  churches  of  S.  Christoforo  and  S.  Spirito  at  Siena.  These 
are  in  advance  of  the  Sienese  pictures  of  his  time  in  drawing  and  ex- 
pression, and  the  color  is  excellent.  He  was  in  Siena  in  1515,  but 
no  works  of  that  year  remain.  In  1518  he  competed  with  Bazzi  and 
Beccafumi  for  the  frescoes  for  S.  Bernardino.  In  these  he  appears  to 
have  adopted  some  of  the  traits  of  Pinturicchio,  but  is  still  original. 
In  1533  he  became  entangled  with  the  dangerous  Bardotti  club,  and 
two  years  later  disappeared  from  Siena,  and  nothing  more  is  known 
of  him.  Many  of  the  pictures  which  have  been  ascribed  to  Pacchi- 
arotti  doubtless  belong  to  Del  Pacchia,  who  was  the  superior  artist* 
Of  these  may  be  mentioned  a  "  Holy  Family  "  in  the  Siena  Acad.,  a 
"  S.  Bernard "  in  the  Pinakothek  of  Munich,  and  a  "Madonna  "  in 
the  National  Gall. 

Facchiarotti,  Jacopo,  born  at  Siena  (1474-1540).  This  artist 
led  a  troubled  life.  He  was  involved  in  a  political  conspiracy,  and 
is  said  to  have  fled  to  France  in  1535.  He  had  returned  to  Siena  in 
1539,  when  he  was  banished  and  declared  an  outlaw  by  the  govern- 
ment; through  the  influence  of  his  wife  he  was  restored  to  his  family 
in  1540,  after  which  time  nothing  positive  is  known  concerning  him. 
Vasari  did  not  mention  Pacchiarotti,  and  although  he  executed  some 
great  works,  he  has  been  comparatively  neglected  by  posterity.  He 
was  not  equal  to  Perugino  in  color,  but  in  other  respects  he  surpassed 
him,  and  there  is  no  proof  of  his  having  studied  under  that  master, 
as  has  sometimes  been  stated.  His  best  remaining  works  are  in  the 
churches  and  the  Acad.  of  Siena.  In  the  ch.  of  S.  Catherine  there 


PACCHIAROTTI  —  PAJOU.  437 

is  a  representation  of  that  saint  visiting  the  body  of  S.  Agnes,  which 
is  full  of  tenderness,  grace,  and  beauty. 

Facheco,  Francesco,  born  at  Seville  (1571-1654).  More  cele- 
brated as  a  writer  upon  art  and  as  the  teacher  of  Alonso  Cano  and 
Velasquez,  than  for  his  own  pictures.  He  studied  only  at  Seville, 
and  did  not  visit  Madrid  or  see  the  works  of  any  great  masters  until 
1611.  He  then  returned  to  his  native  city  and  established  a  school 
where  younger  men  than  himself  could  have  a  thorough  and  system- 
atic education  in  art.  We  are  led  to  believe  that  he  improved 
much  himself,  from  his  own  and  other  descriptions  of  his  picture  of 
the  "Last  Judgment,"  but  the  work  no  longer  exists.  Pacheco  suc- 
ceeded best  in  small  portraits,  and  among  the  famous  men  who  sat 
to  him  was  the  author  of  ' '  Don  Quixote,"  Miguel  De  Cervantes 
Saavedra.  Pacheco  was  the  first  to  properly  paint  and  gild  statues 
and  relievi,  and  some  specimens  of  his  work  of  this  sort  still  remain 
in  Seville.  His  treatise  on  the  art  of  painting  obtained  him  much 
reputation  in  Spain.  In  the  Gall,  of  the  Queen  of  Spain  there  is  a 
picture  of  S.  Inez  by  Pacheco. 

Padouanino.     See  Varotari. 

Faelinck,  Joseph,  born  at  Oostacker  near  Ghent  (1781-1839). 
An  historical  painter  whose  works  entitle  him  to  eminence  among 
modern  Belgian  artists.  He  spent  several  years  in  Paris  and  Rome, 
and  while  in  the  latter  city  painted  his  chef-d'oeuvre,  representing  the 
"  Invention  of  the  Cross,"  now  in  the  ch.  of  S.  Michel  in  Ghent. 
Other  works  of  his  are  in  Antwerp,  Malines,  Oudenarde,  and  other 
cities  of  Belgium.  His  religious  subjects  are  his  best  works,  because 
more  free  from  academic  affectation  than  his  mythological  and  other 
pictures. 

Paggi  or  Pagi,  Gio.  Battista,  born  at  Genoa  (1554-1627  ?).  Pupil 
of  Luca  Cambiaso.  He  killed  an  antagonist  in  a  quarrel,  and  fled  to 
Florence,  where  he  lived  twenty  years  and  was  much  patronized  by 
the  court.  In  1600  he  was  invited  to  return  to  Genoa,  and  was  con- 
stantly employed,  both  for  public  and  private  collections,  until  his 
death.  His  works  are  seen  in  Florence,  Pa  via,  and  Genoa. 

Pajou,  Augustin,  born  at  Paris  (1730-1809).  At  the  age  of 
eighteen  this  sculptor  gained  the  grand  prize  at  Paris,  and  went  by 
means  of  the  King's  pension  to  Rome.  He  remained  there  twelve 
years,  and  after  his  return  to  France  became  famous  and  was  much 
employed.  He  executed  the  sculptures  for  the  facade  of  the  Palais 
Royal,  and  the  figures  of  Prudence  and  Liberality,  Mars  and  Apollo, 
for  the  garden  of  the  same  Pal.;  the  sculptures  for  the  opera  house  at 
Versailles;  a  Psyche  Abandoned  in  the  Luxembourg;  statues  of 
Descartes  and  Bossuet;  the  ornaments  of  the  Cath.  of  Orleans,  and 
many  other  works.  He  gained  admittance  to  the  French  Acad.  by 
his  group  of  "  Pluto  holding  Cerberus  in  Chains,"  and  was  made  pro- 
fessor of  sculpture  hi  that  institution.  During  the  time  of  Napoleon 


438  PAJOU  —  PALAMEDES. 

he  was  a  member  of  the  Institute.  His  style  was  masterly  and  at  the 
same  time  natural,  not  exaggerated.  He  surpassed  the  French  sculp- 
tors who  preceded  him. 


CORONATION  OF   THE   VIRGIN.        SUPPOSED   TO  HAVE   BEEN  EXECUTED   ABOUT 

1360. 
From  the  Imhoff  Altar-piece,  at  Nuremberg. 

Falamedes.  Real  name  Anton  G.  Stevens,  called  also  Staevaerts 
or  Stevers;  born  at  Delft  (1604-1680).  He  painted  interiors  which 
are  highly  finished  and  warm  in  color.  His  pictures  are  rare  in  pub- 
lic galleries.  The  only  ones  of  which  I  know  are  in  the  Berlin  Mus., 
Frankfort  Gall.,  and  Brussels  Mus.  He  was  fond  of  representing 
fashionable  people,  and  pencilled  his  figures  with  great  precision. 
His  brother,  whose  name  was  Palamedes  Staevaerts  or  Stevers,  was 
a  painter  of  small  battle  pieces,  and  not  equal  to  Anton,  though  re- 


PALAMEDES  —  PALISSY.  439 

sembling  him  in  color  and  drawing.     The  Duke  of  Northumberland 
has  a  collection  of  his  works  at  Sion  House. 

Falissy,  Bernard  de,  born  near  Agen  (15107-1589).  This  cele- 
brated man  was  a  potter,  glass  painter,  chemist,  author,  and  scientific 
discoverer.  He  was  first,  as  he  says,  employed  in  "  portraiture  and 
vitrification."  He  was  a  fine  geometrician,  and  occasionally  surveyed 
and  made  maps.  He  saw,  when  still  young,  some  beautiful  Italian 
pottery,  and  spent  sixteen  years  in  ascertaining  the  method  of  enamel 
painting,  the  making  of  colors,  etc.  He  endured  privation  and  nu- 
merous disappointments,  and  spent  all  he  could  get,  so  that  he  and  his 
family  were  in  deep  poverty.  When  at  length  he  succeeded  he  soon 
rose  to  such  fame  as  to  be  much  employed  by  the  Constable  de  Mont- 
morency,  to  have  rooms  allotted  to  him  in  the  Tuileries,  and  to  be 
called  "  maker  of  the  King's  rustic  potteries."  His  garden  vases  and 
out-of-door  ornaments  were  very  fashionable,  and  his  small  works, 
such  as  salvers,  ewers,  jugs,  etc.,  were  eagerly  sought  for.  He  was 
a  Huguenot,  and  was  imprisoned  in  Bordeaux  in  the  time  of  Henri  II., 
when  he  was  set  free  at  the  entreaty  of  the  great  Constable  and 
various  nobles.  In  the  time  of  the  S.  Bartholomew  massacre  he  was 
saved  by  Catherine  de  Medici,  but  he  was  at  last  thrown  into  the 
Bastille,  where  he  died.  His  scientific  discoveries  were  very  impor- 
tant, and  he  anticipated  the  results  of  modern  discoveries.  He  gave 
the  theory  of  artesian  wells  and  stratifications,  and  a  method  of  tak- 
ing soundings.  He  lectured  on  his  discoveries  in  1575,  and  invited 
criticism  and  objections  to  them.  Many  scientists  accepted  his  chal- 
lenge. It  has  been  said  that  Palissy  "  was  to  chemistry  what  Lord 
Bacon  was  to  philosophy."  The  following  account  of  the  medallion 
which  adorned  the  front  of  his  house  is  interesting :  ' '  The  house 
where  Bernard  de  Palissy  lived  for  so  many  years  is  situated  No.  24 
Rue  Dragon,  but  in  fact  the  famous  enameller  never  lived  in  this 
house,  which  was  built  during  the  last  years  of  the  reign  of  Louis 
XV.,  but  in  the  house  formerly  occupying  the  site,  which  was  demol- 
ished toward  the  end  of  the  reign  of  Henri  III.,  shortly  after  the 
death  of  Palissy.  The  present  building  is  a  very  common  structure, 
and  has  for  many  years  been  occupied  as  a  lodging-house.  Nothing 
is  remarkable  beyond  the  wooden  staircase,  which  certainly  belonged 
to  the  former  house.  Upon  the  front,  one  reads  this  inscription  in 
rude  letters,  '  Ancienne  demeure  de  Bernard  de  Palissy.'  Under- 
neath was  imbedded  the  medallion  in  question,  a  marvellous  work  of 
art  in  terra  cotta,  enamelled  and  varnished,  of  which  the  subject  was 
Hercules  with  the  Ncmean  lion,  with  this  legend  :  '  Pauvrete  em- 
peche  souvent  les  bons  esprits  de  reussir.'  This  last  inscription  was 
visible  until  about  1820,  when  the  front  was  painted  and  it  disap- 
peared. No  one  has  since  thought  of  restoring  it.  The  medallion 
;il<mr,  was  carefully  respected,  having  been  there  since  the  rebuilding 
of  the  house,  that  is  to  say,  more  than  a  hundred  years.  Lately  a 


440  PALISSY  —  PALMA. 

curiosity-dealer  looked  upon  it  with  curious  eyes.  This  dealer,  who 
is  a  connoisseur  in  objects  of  this  kind,  saw  the  owner  of  the  house, 
and  after  some  bargaining  carried  away  the  medallion,  leaving  in  ex- 
change the  sum  of  2500  francs.  The  space  left  upon  the  front  by 
the  absence  of  this  enamel,  was  quickly  filled  by  a  plaster  bust  worth 
fifteen  francs,  and  supposed  to  represent  the  celebrated  potter.  Ap- 
pearances were  kept  up,  and  the  ghost  of  Palissy  has  nothing  to  say. 
The  medallion  has  already  changed  hands,  and  the  present  owner 
asks  15,000  francs.  Fifteen  thousand  francs!  The  artist,  during  his 
life,  had  trouble  to  sell  the  same  for  five  or  six  francs." 

Palma,  Giacomo,  called  "II  Vecchio."  Born  at  Se- 
rina,  near  Bergamo  (about  1480-1528).  He  was  Berga- 
mesque  by  birth  and  name,  but  Venetian  in  his  manner  of 
painting.  He  was  original,  and  if  an  imitator  at  all,  it  was 
of  Gio.  Bellini  and  Cinia ;  he  did  his  part  with  Giorgione  and  Titian 
to  regenerate  Venetian  art.  He  was  not  great,  but  in  the  compass 
in  which  he  worked,  he  was  a  fine  designer,  a  good  colorist,  melo- 
dious in  tone,  and  skilful  in  the  management  of  light  and  shade. 
He  was  fond  of  natural  backgrounds,  and  represented  in  them  eter- 
nal summer.  His  female  figures  are  his  best  works,  and  are  not  ex- 
celled in  soft,  richly  blended  tones,  elegant  bearing,  and  tasteful 
dress.  We  have  no  account  of  his  having  studied  with  any  great 
master,  or  of  his  being  employed  by  the  state ;  but  he  was  much  pat- 
ronized by  the  families  of  noble  Venetians  of  Cornaro  and  Friuli,  and 
dwelt  much  in  their  palaces.  At  the  time  of  his  death,  he  had  no 
family  but  nephews  and  a  niece,  and  was  a  member  of  the  brother- 
hood of  S.  Spirito,  in  whose  vaults,  at  S.  Gregorio,  at  Venice,  he 
desired  to  be  buried.  His  pictures  are  numerous,  and  yet  he  left 
forty-four  unfinished  when  he  died.  There  are  no  large  galleries  in 
which  they  are  not  seen,  and  space  for  a  general  description  of  them 
cannot  be  given  here ;  his  altar-piece  at  S.  Maria  Formosa  in 
Venice  is  in  his  best  manner,  and  is  generally  called  his  master- 
piece. The  centre  figure  of  S.  Barbara  can  scarcely  be  too  highly 
praised,  and  many  of  the  surrounding  figures  are  wonderfully  excel- 
lent. This  is  especially  true  of  the  figure  of  the  Virgin  (in  the  pin- 
nacle), bending  over  the  dead  Christ.  This  whole  work  displays  his 
happy  power  of  combining  a  bold  touch  with  vigorous  tint,  and  yet 
attaining  to  harmony  and  finished  blending.  The  "  Three  Graces  " 
at  Dresden,  said  to  represent  his  daughters,  is  too  well  known  to  re- 
quire mention.  It  is  said  that  Violante  was  his  favorite,  and  the 
model  for  the  celebrated  S.  Barbara ;  but  there  is  a  marked  simi- 
larity in  all  his  female  figures.  Vienna  is  rich  in  such  as  may  be 
called  portraits ;  there  are  also  two  beautiful  ones  at  the  Barberini 
and  Sciarra  palaces  in  Rome.  Besides  the  large  number  of  pictures 
assigned  to  Palma  with  good  reason,  there  are  many  in  European 
churches  and  galleries,  catalogued  as  his,  which  are  of  doubtful 
origin. 


PALMA  —  PALMEZZANO. 


441 


Palma,  Giacomo,  called  "  Giovine  "  (1544-1628).  This  painter 
was  mechanical  in  manner,  but  had  some  fine  points.  There  are 
many  works  of  his  in  the  Acad.  and  churches  of  Venice,  and  some  of 
the  best  are  in  the  Pal.  of  the  Doge.  He  loved  to  represent  nude,  or 
half  nude  mythological  figures  in  the  midst  of  pleasing  landscapes. 
Bartsch  describes  twenty-seven  etchings  by  this  master.  • 


o 

e  B 
i  § 


I 


Palmar oli,  Pietro.  The  picture  restorer  who,  in  1811,  transferred 
the  celebrated  "  Descent  from  the  Cross,"  by  Daniele  da  Volterra, 
from  the  wall  to  canvas.  He  also  transferred  and  restored  many 
other  pictures,  a  list  of  which  is  given  by  Nagler. 

Palmezzano,  Marco,  born  at  Forli  (1456  ?-1537  ?).  A  disciple 
of  Melozzo  of  Forli.  His  pictures  may  be  called  geometrical.  He 
illustrated  the  system  which  came  to  perfection  under  Correggio,  the 
Carracci,  and  other  barocchi.  His  drawing  was  correct  and  sculptural; 


442  PALMEZZANO  —  PAPA. 

there  is  no  flow  of  drapery,  no  atmosphere,  no  feeling  for  color.  In 
ornamentation,  such  as  tracery  of  stems  and  leaves  on  pilasters,  fig- 
ures supporting  vases,  etc.,  he  was  skilful  and  tasteful,  but  generally 
speaking,  his  pictures  are  lifeless  and  angular,  with  little  charm  of 
color.  Many  of  his  works  are  seen  in  European  galleries.  Forli  is 
especially  rich  in  his  pictures,  and  among  the  most  important  of  his 
labors  are  the  frescoes  in  S.  Girolamo,  Forli,  and  the  altar-piece  in 
Orfanotrofio  delle  Michelline.  at  Faenza.  All  his  works  have  been 
attributed  to  his  master,  but  it  is  now  proved  that  great  mistakes 
have  been  made  in  this  way. 

Palomino.     See  Velasco. 

Panetti,  Domenico,  born  at  Ferrara  (1460-1511  ?)  His  pictures 
are  precise  and  rigid.  Garofalo  was  his  pupil,  but  after  he  visited 
Rome,  Panetti  studied  his  works  with  attention,  and  much  improved 
his  manner.  The  "  Maries  weeping  over  the  Dead  Christ,"  in  the 
Berlin  Mus.,  is  the  only  work  of  his  in  any  European  Gall.,  of  which 
I  know. 

Panicale,  Masolino  da,  born  at  Florence  (1403-1440).  This 
painter  is  well  known  by  his  frescoes  in  the  Carmine,  and  is  reputed 
to  have  been  the  teacher  of  the  great  Masaccio.  Masolino  was  a  pu- 
pil of  Ghiberti  and  Stamina.  His  own  fame  seems  to  have  been  lost 
in  that  of  Masaccio,  although  his  frescoes  referred  to  above  have 
been  attributed  to  the  more  distinguished  pupil,  which  proves  a  great 
resemblance  of  general  effect  and  execution.  Other  works  by  Maso- 
lino have  been  brought  to  light  in  the  college  ch.  of  Castiglione 
d'Olona,  near  Milan. 

Pannels,  Willem,  born  at  Antwerp  about  1600.  A  painter  and 
engraver,  who  is  best  known  by  his  clever  etchings,  which  are  prin- 
cipally after  Rubens,  and  his  own  designs.  His  drawing  is  often  in- 
correct, but  he  had  much  vigor  and  spirit  in  execution. 

Fannini,  Gio.  Paolo,  born  at  Piacenza  (1691-1764).  An  eminent 
painter  of  architectural  subjects.  His  perspective  was  fine,  and  his 
works  characterized  by  correctness  and  precision.  He  also  introduced 
figures  into  his  compositions.  As  a  colorist,  he  cannot  be  especially 
commended.  His  works  are  numerous  in  the  private  collections  of 
England,  and  are  also  seen  in  some  palaces  at  Rome.  They  have 
been  engraved  by  a  number  of  excellent  engravers,  such  as  Lem- 
pereur,  Le  Bas,  Bartolozzi,  and  others. 

Pantoja,  Juan  de  la  Cruz,  born  at  Madrid  (1551-1610).  This 
artist  may  be  called  the  portrait  painter  of  kings,  for  he  was  much 
employed  by  Philip  II.  and  HI.  in  painting  numerous  pictures  of 
themselves  and  their  families.  Many  of  these  are  still  seen  in  the 
galleries  of  Spain. 

Papa,  Simone,  il  Vecchio,  born  at  Naples  (14307-1488).  Said 
to  have  been  a  pupil  of  II  Zingaro.  Worthy  of  notice  on  account  of 
his  imitation  of  the  style  of  the  Van  Eycks.  S.  Michael,  with 


PAPA  —  PARROCEL.  443 

other  saints  and  the  donors  of  the  picture,  is  perhaps  his  best  work; 
it  is  in  the  Museo  Borbonico. 

Papa,  Simone,  il  Giovine,  born  at  Naples  (1506-1569).  .Notice- 
able for  the  simplicity  of  his  style  among  the  Neapolitan  mannerists 
of  his  day.  His  best  works  are  in  the  ch.  of  Monte  Oliveto  at  Naples. 

Pape,  Adrien  de.  This  artist  is  almost  unknown,  but  his  two 
pictures  in  the  Hague  and  Berlin  museums  prove  him  to  have  been 
one  of  the  best  genre*  painters  of  his  time.  He  has  been  called  a 
scholar  of  Gerard  Dow. 

Fapias.  A  sculptor  of  Cyprus  who,  together  with  Aristeas,  made 
the  two  statues  of  centaurs  in  the  Capitoline  Mus.  They  are  of 
dark  gray  marble,  and  were  found  in  the  villa  of  Hadrian  at  Tivoli  in 
1746.  They  are  supposed  to  be  of  the  time  of  Hadrian,  and  as 
better  statues  than  these  have  been  found  representing  the  same 
subject,  it  may  be  that  they  are  not  original  works,  but  copies. 
They  are  inscribed,  APICTEAC  KAI  IIAniAC  A*POAICIEIC,  and  are  of 
a  good  style  of  execution. 

Papillon.  The  name  of  a  family  of  wood-engravers  who  flour- 
ished from  1680  to  1775.  The  younger,  Jean  Baptiste  Michel,  was 
the  more  important.  He  attempted  a  revival  of  wood-engraving 
and  wrote  a  history  of  that  art,  but  it  is  comparatively  worthless 
since  the  publication  of  better  books  on  the  same  subject. 

Farcellis,  Jan,  born  at  Leyden  (about  1597-1641).  A  mediocre 
painter  of  marine  views. 

Parcellis,  Julius,  born  at  Leyderdorf,  1628.  Pupil  of  the  fore- 
going but  a  much  better  artist ;  indeed,  his  pictures  are  sometimes 
compared  favorably  with  those  of  Willem  van  der  Velde.  His  works 
are  rare;  there  is  one  in  the  Berlin  Gall.  Both  father  and  son 
signed  their  pictures  with  the  initials,  J.  P. 

Pareja,  Juan  de,  born  in  Spanish  America  (1610-1670).  The 
slave  and  color-grinder  of  Velasquez,  he  became  secretly  an  artist, 
and  on  one  occasion,  when  King  Philip  visited  the  studio  of  his 
master,  he  displayed  a  picture  he  had  painted,  and  threw  himself  at 
the  feet  of  his  Majesty,  begging  pardon  for  his  audacity.  Both  the 
King  and  Velasquez  treated  him  most  kindly,  and  it  is  said  that  he 
served  liis  master  until  his  death,  although  he  was  emancipated  from 
slavery.  He  succeeded  best  in  portraits.  His  works  are  not 
numerous;  the  most  important  are  the  "  Calling  of  S.  Matthew," 
in  the  Royal  Gall,  of  Spain;  the  portrait  of  a  Provincial  of  a  religious 
order,  in  the  Imperial  Gall,  of  Russia;  and  a  few  others,  at  Madrid 
and  Toledo.  A  portrait  of  Pareja  painted  by  Velasquez  was  in  the 
Gall,  of  Lord  Radnor. 

Parrocel,  Joseph.  The  most  important  member  of  a  family  of 
painters  and  engravers  who  flourished  in  France  from  1670  to  about 
1 750.  There  are  two  battle  scenes  by  Joseph  Parrocel  in  the  old 
Coll.  of  the  Louvre.  Charles,  Ignatius,  Pierre,  and  Stephen  were  of 
the  same  family,  but  all  mediocre  artists. 


444  PASS  —  PASSEROTTI. 

Pass  or  Passe,  Crispin  de,  the 
Elder.  This  eminent  engraver  was 
the  head  of  a  family  of  artists,  for  he 
had  three  sons  and  a  daughter  who 
received  their  instruction  from  him  and  practised  the  art  of  engrav- 
ing. The  father  and  the  son  William  were  the  most  skilful  artists, 
and  their  prints  are  much  esteemed.  The  accounts  of  the  life  of  the 
father  are  very  unsatisfactory.  The  only  thing  upon  which  all  agree 
is  that  he  was  instructed  by  Coornhaert.  He  went  to  England,  but 
it  is  not  known  at  what  time.  William  resided  in  that  country  the 
greater  part  of  his  life.  The  portraits  of  these  engravers  are  their 
most  valuable  prints.  Crispin  (the  Younger),  Simon,  and  Magdalene 
are  the  names  of  those  not  yet  mentioned.  Crispin  left  very  few 
plates;  those  of  the  others  are  reputable,  but  not  equal  to  the  works 
of  the  father  and  the  elder  brother. 

Passeri,  Giambattista,  born  at  Rome  (1610-1679).  He  was  a 
fond  lover  of  Domenichino,  with  whom  he  lived  at  Frascati.  He  also 
painted  the  portrait  of  the  great  master  (now  in  the  Uffizi),  and 
pronounced  his  funeral  oration.  Passeri  was  more  a  genre  than  an 
historical  painter.  He  was  president  of  the  Acad.  of  S.  Luke  at 
Rome,  and  wrote  upon  art  with  great  correctness.  His  chief  work 
was  called  "  Vite  de  Pittori,  Scultori,  e  Architetti,  che  hanno  lavo- 
rato  in  Roma,  e  che  son  morti  dal,  1641,  al  1673." 

Passerotti,  Bartolomeo,  born  at  Bologna  (1520-1595).  Pupil 
of  Jacopo  Vignola,  with  whom  he  visited  Rome.  After  his  return  to 
Bologna  he  established  an  Aoad.,  and  Agostino  Carracci  was  one  of 
the  pupils  there.  He  excelled  most  in  portraits,  and  by  some  has 
been  esteemed  second  only  to  Titian  in  this  department  of  painting. 
He  was  much  employed  for  the  Bolognese  churches,  and  in  them  his 
altar-pieces  are  still  seen.  He  studied  anatomy  very  thoroughly,  and 
left  materials  for  a  treatise  on  that  subject.  He  had  four  sons  who 
were  artists.  We  have  an  account  of  a  remarkable  picture  painted 
by  Passerotti  for  Gio.  Battista  Deti.  It  represented  Homer  on  the 
seashore  with  a  gypsy,  a  dog,  and  some  shells,  while  a  large  number 
of  sailors  in  a  boat  are  propounding  a  riddle  to  the  great  Greek. 
Homer  was  painted  with  Passerotti' s  own  features.  There  are  now 
two  portraits  of  Passerotti  in  Europe,  one  being  in  the  Florence  Gall, 
and  the  other  in  a  family  picture  in  the  Dresden  Gall.  Not  long 
since  a  third  one  was  found  in  an  auction  room  in  Boston.  It  has  this 
inscription  :  — 

BARToep  PASSEROTTI 

FECI  DI  SUA  MANO  SUA 

EFFIGE,  DICTA  D'ANI  51  IN 

BOLOGNA. 

DONATO  DA  ESSO  A 

MESER  Gio.  BATTA.  DETI, 
ADI  9,  A.D.  1571. 


PASSEROTTI  —  PATRAS.  445 

Which  translated  reads,  "  Bartolomeo  Passerotti  painted  with  his 
hand  his  likeness  at  the  age  of  51  years,  in  Bologna.  Presented  by 
him  to  Mr.  Giovanni  Battista  Deti  on  the  ninth  day  of  the  year 
1571 ;"  and  if  genuine  (which  I  have  not  heard  doubted),  it  is  a  dis- 
covery of  a  real  treasure.  The  inscription  decides  the  time  of  his 
birth,  which  was  not  before  known.  So  few  of  his  portraits  remain 
that  it  is  difficult  to  do  him  justice,  for  we  know  not  whether  they  are 
of  his  best  style.  The  other  works  of  his  in  Bologna  have  no  espe- 
cial merit,  but  the  mannerists  of  his  time  were  more  excellent  in  por- 
trait than  in  historical  painting,  for  the  reason  that  they  were  obliged 
to  adhere  to  nature  and  lay  aside  their  affectations  in  a  good  degree. 
It  is  seen  by  the  inscription  that  this  picture  was  painted  for  the 
same  Deti  for  whom  the  Homer  was  done,  and  was  probably  a  gift 
made  in  gratitude  for  his  patronage.  Passerotti  was  also  a  good  en- 
graver, and  left  a  number  of  etchings.  Bartsch  describes  fifteen  of 
these  and  mentions  others,  and  does  not  claim  to  give  a  complete 
catalogue.  He  says  these  prints  have  been  much  esteemed  and  have 
become  very  rare;  more  than  two  are  seldom  found  in  any  one  Coll., 
however  rich. 

Patavinus.     See  Avibus. 

PateL  The  name  of  two  landscape  painters  who  flourished  in  the 
latter  part  of  the  17th  century.  They  were  father  and  son,  and  the 
former  was  the  superior  artist,  although  it  is  sometimes  difficult  to 
decide  between  them,  as  many  of  the  pictures  are  not  signed.  The 
works  of  Patel  are  not  uncommon  in  England,  and  are  seen  in  the 
Louvre.  The  elder  seems  to  have  imitated  Claude  with  good  success. 
There  are  pictures  of  the  "  Four  Seasons  "  in  the  Louvre,  attributed 
to  the  son. 

Pater,  Jeaii  Baptiste  Joseph,  born  at  Valenciennes  (1696-1736). 
The  works  of  this  painter  are  too  rare  to  be  very  well  known.  He 
chose  the  same  class  of  subjects  as  Watteau,  namely,  fetes  champe- 
tres  and  other  merry  scenes.  His  figures  are  especially  pretty,  and 
many  of  his  heads  are  so  nicely  finished  that  they  may  be  called  fine 
miniatures.  His  landscapes  are  well  arranged,  but  their  color  is  not 
always  pleasing;  still  the  whole  effect  of  his  pictures  is  extremely 
satisfactory. 

Patinier,  Joachim,  born  at  Dinant  (1490-1545).  This  painter 
may  be  called  the  founder  of  the  landscape  painting  of  the  Nether- 
lands. He  first  made  the  representation  of  nature  the  principal  part, 
and  figures  the  accessories  of  his  works.  His  earlier  pictures  are 
very  defective  in  perspective,  overloaded  with  details,  and  altogether 
unsatisfactory;  his  later  ones  are  more  truthful,  and  have  a  better 
feeling  for  effect.  He  was  a  man  of  dissolute  habits  and  low  tastes, 
and  yet  Albert  Durer  was  very  fond  of  him  and  painted  his  portrait. 
His  pictures  are  in  the  Antwerp,  Brussels,  and  Vienna  galleries. 

Patras,  Lambert.      A  bronze  caster  of  Dinant  who  flourished 


446  PATRAS  —  PEALE. 

about  1112.  The  font  at  Liege  from  which  the  illustration  is  taken 
is  a  very  important  work  of  its  kind.  The  bronze  workers  of  Dinant 
were  so  skilful  'that  in  adjacent  provinces  all  workmen  in  that  art 
were  known  as  Dinandiers. 

Pauditz,  Christopher.  A  native  of  Lower  Saxony.  Died  1666. 
He  was  an  imitator  and  perhaps  a  pupil  of  Rembrandt.  He  was 
much  patronized  by  Albrecht  Sigismund,  Duke  of  Bavaria,  and 
Bishop  of  Freising.  ' '  Christ  driving  the  Money-changers  from  the 
Temple  "  in  the  Cath.  of  Freising  is  the  most  important  work  by 
Pauditz.  In  the  Gall,  of  Munich  are  two  pictures  of  a  "  Wolf  de- 
stroying a  Lamb,"  one  of  which  was  painted  by  this  artist  in  compe- 
tition with  an  artist  of  Nurnberg.  Neither  one  of  them  is  excellent ; 
that  of  Pauditz  is  the  better  of  the  two,  but  the  judges  did  not  so  de- 


GOVOSBAPTIZOIN 
AOVA'TENl^TAVTE 


nj&czruT, 

RELIEF  ON  A   BAPTISMAL  BASIN.      BY  LAMBERT    PATRAS,   AFTER    A.  D.    1112. 

In  S.  Barthelemy,  Liege. 

cide,  and  it  is  said  that  he  died  in  consequence  of  his  disappointment 
and  mortification. 

Pautre,  Jean  le,  born  at  Paris  (1617-1682).  This  engraver  left 
an  immense  number  of  plates,  probably  1500.  They  represent  archi- 
tectural designs,  ornaments,  altars,  tombs,  fountains,  etc.,  and  are 
executed  with  extraordinary  facility. 

Peale,  Charles  Wilson,  born  in  Chesterton,  Maryland  (1741- 
1826).  The  life  of  this  painter  was  quite  remarkable,  and  full  of 
interesting  experiences.  He  possessed  an  unusual  mechanical  genius, 
and  could  work  in  leather,  wood,  or  metal.  The  museum  which  he 
established  in  Philadelphia  illustrated  his  enterprise  and  his  desire  to 
do  good  to  all.  But  his  decided  taste  was  artistic,  and  he  made  pic- 
tures which  proved  his  talent,  before  he  received  any  instruction.  He 


PEALE  —  PENCZ.  447 

studied  under  a  German  in  Philadelphia,  and  with  Copley  in  Boston. 
He  then  went  to  London  and  was  instructed  by  West.  During  the 
Revolution  he  commanded  a  corps  of  volunteers,  but  at  odd  times  in 
camp  he  painted  portraits,  and  that  of  Washington  as  a  Colonel  of 
Virginia  troops  is  the  first  authentic  likeness  of  that  great  man,  and 
was  executed  in  1772.  This  picture  is  well  known  from  the  numer- 
ous copies  and  engravings  of  it.  He  painted  fourteen  different  pic- 
tures of  Washington,  the  last  one  in  1783.  For  some  time  he  was 
the  only  well-known  portrait  painter  of  America,  and  sitters  came  to 
him  from  all  parts  of  the  country,  Canada,  and  the  West  Indies.  He 
was  versatile  in  his  talents,  and  ' '  sawed  his  own  ivory  for  his  minia- 
tures, moulded  the  glasses,  and  made  the  shagreen  cases."  His  son 
Rembrandt  says  of  him,  "  His  likenesses  were  strong,  but  never  flat- 
tered; his  execution  spirited  and  natural."  His  last  work  was  a  full- 
length  portrait  of  himself  at  the  age  of  eighty-three  years.  His  most 
interesting  works  are  in  Independence  Hall,  Philadelphia,  and 
number  117  in  all.  Other  valuable  works  of  his  are  in  the  Acad.  of 
Philadelphia;  in  the  Coll.  of  Joseph  Harrison  of  that  city,  and  in  the 
Gall,  of  the  New  York  Historical  Society. 

Peale,  Rembrandt,  born  in  Bucks  County,  Pennsylvania  (1787- 
1860).  While  young  he  was  associated  with  his  father,  then  studied 
with  West  in  London,  and  spent  a  long  time  in  Paris  engaged  in 
making  portraits  of  eminent  persons  for  his  father's  museum.  He 
painted  two  historical  subjects  which  were  exhibited,  "  The  Roman 
Daughter"  and  the  "  Court  of  Death,"  but  devoted  himself  to  por- 
trait painting.  When  but  eighteen,  Washington  paid  him  the  com- 
pliment to  sit  to  him,  which  so  overcame  him  that  he  was  forced 
to  seek  the  assistance  of  the  presence  of  his  father.  Later  in  life  he 
made  a  portrait  of  Washington  which  is  considered  by  many  the 
best  one  ever  painted,  and  of  which  Chief  Justice  Marshall  said,  "  It 
is  more  Washington  himself  than  any  portrait  I  have  ever  seen." 
For  a  long  time  he  was  the  only  artist  who  had  soon  Washington. 
He  made  this  picture  from  Houdon's  bust  and  his  recollections  of 
his  great  subject.  There  have  been  many  copies  of  it  by  himself 
and  others.  Some  of  his  works  are  in  the  Philadelphia  Acad.  and 
the  Gall,  of  the  New  York  Historical  Society. 

Pellegrini,  Gio.  Antonio  (1675-1741).  His  father  was  a  glover 
of  Padua  who  lived  in  Venice.  The  artist  is  claimed  by  both  cities. 
He  was  distinguished  in  France  for  frescoes  executed  in  a  hall  of  the 
Hotel  de  Mazarin  (now  the  Library).  His  principal  work  is  in  San 
Mose  at  Venice. 

Pencz,  George,  born  at  Nuremberg   (1500-1550). 
One  of  the   best  scholars  of  Albert  Diirer ;  indeed,  in 
engraving  he  is  first  among  them.     He  went* to  Italy, 
where,  in  the  study  of  the  works  of  Raphael,  he  modi- 
fied his  manner,  but  still  remained  original  and  Netherlandish.     His 


448  PENCZ  —  PENNI. 

historical  works  are  very  rare;  there  is  a  "  S.  Jerome  "  in  the  Chapel 
of  S.  Maurice,  at  Nuremberg,  which  is  an  excellent  picture;  a  "  Venus 
and  CupiJ,"  in  the  Munich  Gall.,  is  graceful  and  pleasing.  His  por- 
traits are  more  numerous,  and  some  of  them  are  masterly.  Among 
the  best  are  three  in  the  Berlin  Mus. ,  one  in  the  Landauer  Briider- 
haus  at  Nuremberg,  and  that  of  Erasmus  of  Rotterdam  at  Windsor 
Castle.  He  studied  engraving  under  Marc  Antonio,  and  closely 
attained  to  the  excellence  of  that  master,  as  may  be  seen  in  his  plate 
of  the  "  Taking  of  Carthage,"  after  Giulio  Romano,  the  only  engrav- 
ing he  made  after  any  composition  not  his  own.  His  plates  of  por- 
traits were  very  fine ;  a  series  illustrative  of  the  story  of  Tobit  are 
tender  and  beautiful,  a  German  conception,  treated  with  Italian 
grace.  Bartsch  describes  126  prints  by  Pencz,  and  Nagler  adds 
three  to  the  list. 

Pennacchi,  Pietro  Maria,  born  at  Treviso  (1464-1528).  The 
earlier  works  of  this  painter  are  really  remarkable  for  their  German 
type,  and  some  of  them  have  been  marked  with  the  monogram  of 
Diirer.  He  went  to  Venice,  and  his  manner  so  changed  that  it  is 
difficult  to  believe  the  later  works  of  his  life  to  be  by  the  same  hand. 
Most  of  his  pictures  are  in  Treviso  and  Venice.  One  of  his  early 
style  is  in  the  Berlin  Mus.,  and  represents  the  Saviour  supported  in 
the  tomb  by  two  angels.  It  is  remarkable  for  its  patient  finish  and 
its  ugliness. 

Pennacchi,  Girolamo  di  Pier'  Maria  (1497-1545).  Son  and 
pupil  of  the  preceding,  whom  he  surpassed.  His  pictures  are 
principally  in  Treviso,  Venice,  and  Bologna,  in  which  last  city  he 
painted  much  for  the  churches.  His  works  are  rare  in  public 
galleries;  the  National  Gall,  and  the  Hermitage  have  pictures  by 
him.  After  his  early  studies  in  Venice,  he  modified  his  manner  by 
familiarity  with  works  of  Raphael  and  other  painters,  but  he  always 
remained  essentially  Venetian.  He  was  a  friend  of  Sansovino, 
Titian,  and  Aretino,  and  some  particulars  concerning  him  are  con- 
tained in  letters  of  the  latter.  During  his  last  stay  in  Venice,  1535- 
1538,  he  painted  many  palaces;  in  1542  he  was  appointed  architect 
to  Henry  VHI.  of  England,  and  made  plans  for  a  residence  for  that 
King.  In  1544  he  was  made  an  engineer,  and  commanded  the  works 
in  the  siege  of  Boulogne.  He  was  throwing  a  portable  bridge  over 
one  of  the  ditches  before  that  place  when  he  was  killed  by  a  cannon- 
ball. 

Penni,  Gianfrancesco,  born  at  Florence  (1488-1528).  A  favorite 
pupil  of  Raphael's  and  one  of  the  heirs  to  his  estate;  he  also  acted 
as  his  steward,  and  on  this  account  was  called  II  Fattore.  He 
assisted  Raphael  in  many  important  works,  such  as  the  Cartoons, 
the  pictures  in  the  Loggie  of  the  Vatican,  the  story  of  Cupid  and 
Psyche  at  the  Farnesina,  and  others.  He  left  very  few  original 
works,  but  he  executed  fine  copies  of  the  works  of  his  master.  With 


PENNI  —  PEREYRA.  449 

Giulio  Romano  he  was  employed  to  finish  the  "  History  of  Constan- 
tine,"  commenced  by  Raphael.  The  "Baptism  of  Constantine  " 
and  the  "  Donation  of  Rome  to  Pope  Sylvester  "  were  by  Penni. 
The  Marquis  del  Vasto  invited  him  to  Naples,  where  he  died  from 
the  effect  of  the  climate. 

Penni,  Luca.  Brother  of  the  preceding.  He  studied  a  short  time 
under  -Raphael  and  then  with  Periuo  del  Vaga.  He  went  to  Eng- 
land in  the  reign  of  Henry  VIII.,  and  then  to  France,  where  he 
painted  with  II  Rosso.  After  his  return  to  Italy  he  applied  himself 
to  engraving,  chiefly  after  II  Rosso  and  Primaticcio. 

Penny,  Edward,  born  at  Knutsford  in  Cheshire  (1714-1791). 
Pupil  of  Hudson  and  Benefiali.  His  best  works  were  small  portraits, 
which  were  much  admired.  He  was  one  of  the  original  members, 
and  the  first  professor  of  painting  in  the  Royal  Acad.  He  read 
an  annual  course  of  lectures  there  until  1783,  when  he  resigned 
on  account  of  his  health.  Some  of  his  historical  subjects  were  en- 
graved, and  the  print  of  the  "  Death  of  General  Wolfe  "  had  a  large 
sale. 

Pepyn,  Martin,  born  at  Antwerp  (1575-1647).  He  was  but  a 
second-rate  artist,  as  may  be  seen  by  his  works  in  the  Antwerp  Mus. 
Some  of  his  heads,  however,  are  elevated  in  expression,  animated, 
and  life-like.  A  female  portrait  in  the  Aremberg  Gall,  is  one  of  his 
best  pictures. 

Pereda,  Antonio,  born  at  Valladolid  (1599-16G9).  Pupil  of 
Pedro  de  las  Cuevas,  and  a  great  historical  painter  in  his  day.  His 
drawing  was  correct,  his  color  Venetian,  and  he  painted  with  a  beau- 
tiful impasto.  There  are  now  but  few  pictures  which  can  be  posi- 
tively called  his  ;  two  in  the  Madrid  Gall.,  one  in  the  Esterhazy  Coll. 
at  Vienna,  and  three  or  four  at  Munich,  are  nearly  all  that  can  be 
named  with  assurance.  It  is  said  of  him  that  having  married  a  lady 
of  rank,  who  insisted  upon  having  her  duena  always  with  her,  and 
not  being  able  to  afford  such  an  appendage,  he  painted  an  old  lady 
with  spectacles,  sitting  and  sewing;  all  visitors  saluted  her  as  they 
passed,  and  believed  her  too  deaf  or  too  discreet  to  notice  their  move- 
ments. 

PereUe,  Gabriel,  born  at  Paris  (1610-1675?).  An  eminent  en- 
graver. He  was  assisted  by  his  sons,  Adam  and  Nicholas.  Perelle 
used  both  the  point  and  graver,  and  executed  with  much  taste.  His 
best  plates  were  landscapes.  He  composed  in  a  pleasing  manner,  and 
made  a  variety  in  his  pictures  by  the  introduction  of  ruins  and 
various  accessories. 

Pereyra,  Manuel  (1614-1667).  A  Portuguese  sculptor  who  set- 
tled at  Madrid,  and  became  so  distinguished  as  to  be  considered  one 
of  the  most  talented  artists  of  his  nation.  His  works  were  numerous. 
One  of  the  best  is  a  statue  of  Christ  in  the  ch.  of  the  Rosary  at 
Madrid.  He  became  blind,  but  continued  to  model,  and  it  is  said 


450 


PEREYRA  —  PERUGINO. 


that  a  statue  of  S.  John,  which  was  executed  from  his  model,  made 
without  sight,  was  one  of  his  finest  works. 

Perugino,  Pietro,  born  at  Citta  della  Pieve  (1446-1524).  His 
father's  name  was  Christoforo  Vannucci,  who  was  of  respectable 
family,  but  had  a  number  of  children  to  provide  for.  The  little 
Pietro  was  apprenticed  to  a  master  in  Perugia  before  he  was  nine 
years  old,  and  took  his  name  from  that  city.  He  became  the  asso- 
ciate of  Piero  della  Francesca,  and  at  length  in  Florence  probably 
studied  under  Verrocchio  together  with  Leonardo,  whose  friend  he 
was.  Perugino  is  considered  the  founder  of  that  style  of  painting 


MADONNA.      BY  PERUGINO. 

In  the  Pitti  Gall.,  Florence. 

which  Raphael  perfected.  He  brought  his  figures  out  from  the  back- 
ground, rounded  them  and  threw  them  into  bold  relief  by  means  of 
strong  shadows.  He  did  not  huddle  numerous  figures  together,  as  had 
been  the  custom  in  Florence,  but  produced  well  arranged  and  more 
complete  groups.  Considering  his  advance  upon  what  had  preceded 
him,  it  is  scarcely  possible  to  say  too  much  in  his  praise;  and  yet  his 
works  leave  so  much  to  be  desired.  The  truth  is,  that  by  nature  he 
was  rough  ;  by  soma  he  is  accused  of  being  intensely  mercenary,  of 
atheism,  and  the  most  unlovely  traits  ;  but  it  is  not  necessary  to  be- 
lieve all  this  in  order  to  account  for  the  want  we  feel  in  his  pictures ; 
it  can  all  be  explained  in  the  fact  that  he  did  not  conceive  in  his  soul 


PERUGINO  —  PERUZZI.  451 

the  spiritual,  or  even  the  most  tender  view  of  his  subjects.  How 
then  could  he  do  more  than  he  has  done  ?  In  technicalities  he  ex- 
celled, and  did  much  to  make  ready  for  that  great  master  who,  in  the 
thirty-seven  years  he  had  to  live,  had  no  time  to  work  up  to  the  ex- 
cellence which  Perugino,  as  his  teacher,  was  able  to  impart  to  him. 
The  works  of  his  middle  life  are  the  best,  for  in  his  later  years  his 
pictures  are  unceasing  repetitions  of  the  same  subject,  and  have  no 
charm  of  sufficient  depth  to  awake  the  best  and  truest  emotions  of 
the  heart.  The  Umbrians  were  all  characterized  by  simplicity  and 
devoutness  in  their  pictures,  and  were  noticeable  beyond  their  con- 
temporaries for  their  brilliancy  of  color;  in  all  these  points,  Peru- 
gino maintained  the  reputation  of  his  school.  The  wall  painting  in 
the  Sistine  chapel,  representing  the  "  Delivery  of  the  Keys  to  S. 
Peter;"  the  Madonna  and  four  saints  in  the  Vatican  Gall.;  the 
"Descent  from  the  Cross,"  in  the  Pitti  Gall.  ;  the  "  Adoration  of 
the  Magi,"  in  S.  Francesco  del  Monte  at  Perugia;  and  the  "  Virgin 
adoring  the  Child,"  in  the  National  Gall.,  arc  among  his  best  works, 
but  there  is  no  public  collection  of  any  importance  in  Europe  without 
the  pictures  of  Perugino,  and  many  are  in  private  galleries. 

Peruzzi,  Baldassare,  born  at  Siena  (1481-1537).  In  1501  he  was 
employed  to  paint  in  the  cathedral,  which  proves  his  early  ability. 
In  1504  he  went  to  Rome,  where  he  eventually  became  a  famous  ar- 
chitect and  painter.  His  life  was  eventful  and  full  of  interest,  and 
deserves  to  be  studied  at  greater  length  than  it  is  possible  to  give  it 
here.  The  building  of  the  Villa  Farnesina  for  the  Siena  banker, 
Chigi,  has  perhaps  done  more  than  any  other  work  of  his  to  give  him 
a  great  and  lasting  reputation.  He  was  its  architect,  and  also  exe- 
cuted many  of  its  decorations.  Time  has  so  destroyed  or  defaced 
them,  that  now  we  can  scarcely  judge  of  their  merit,  but  the  high 
praise  they  gained  for  him  in  his  own  art-favored  time  is  well  known 
to  us.  He  was  a  man  of  great  compass;  an  architect,  mathematician, 
thorough  master  of  perspective,  a  sculptor,  and  a  painter.  We  can- 
not say  that  he  was  classic,  and  yet  he  approaches  being  so,  just  as 
Etruscan  art  is  related  to  that  of  Greece.  He  does  not  stand  on  a 
level  with  Leonardo,  Michael  Angelo,  and  Raphael,  but  he  presses 
hard  upon  them.  He  did  much  work  in  Rome ;  adorned  the  fronts 
of  palaces,  painted  frescoes,  etc.,  etc.,  but  he  can  be  best  studied  by 
us  in  S.  Maria  della  Pace,  where  he  labored  about  1517.  Here  he 
painted  numerous  scenes  from  the  Old  Testament,  and  the  Virgin 
with  SS.  Catherine  and  Brigitta.  These  show  the  hand  of  a  great 
master,  and  in  painting,  he  seemed  to  have  reached  his  utmost  height, 
for  he  never  excelled  them.  In  1520  he  succeeded  Raphael  as  archi- 
tect of  S.  Peter's.  In  the  next  year,  he  visited  Bologna,  where  he 
made  designs  for  various  architectural  works.  During  the  sack  of 
Rome,  1527,  Pernx/i  was  seized,  and  plundered  of  all  he  possessed. 
At  length  he  made  his  way  to  Siena,  and  was  engaged  by  the  gov- 


452  PERUZZI  —  PHIDIAS. 

eminent  at  a  salary  of  five  scudi  per  month.  While  there,  he  was 
chiefly  employed  in  revising  old  fortresses,  or  planning  new  ones.  In 
1535  he  returned  to  Rome  and  devoted  himself  exclusively  to  archi- 
tecture until  his  death,  two  years  later.  The  few  pictures  he  painted 
while  in  Siena  only  show  his  decline  from  the  height  he  attained  in 
S.  Maria  della  Pace.  His  paintings  are  rare  in  galleries  ;  there  are 
some  attributed  to  him  that  are  of  doubtful  origin.  Peruzzi  was  the 
last  great  Sienese  painter.  He  was  buried  near  Raphael  in  the  Ro- 
tunda at  Rome. 

Fesaro,  or  II  Fesarese.     See  Cantarini. 

Pesello.  There  were  two  artists  of  this  name.  There  are  very 
conflicting  accounts  of  the  elder,  concerning  his  name  and  time  of 
birth.  By  some  he  is  called  Francesco,  and  by  others  Giuliano. 
Several  authorities  agree  that  he  lived  from  1380  to  1457.  He  painted 
animals  mostly,  and  is  said  to  have  kept  numbers  of  them  in  his 
house  —  even  wild  beasts  —  for  the  purpose  of  painting  from  nature. 
Francesco  Pesello,  called  Pesellino,  born  at  Florence  (1426-1457), 
was  a  son  of  the  preceding  and  a  pupil  of  Fra  Filippo  Lippi.  His 
works  are  very  rare,  but  may  be  seen  in  the  Florentine  Acad.,  the 
Louvre,  and  the  Liverpool  Institution.  There  is  also  a  gradino  in 
the  Casa  Buonarotti,  at  Florence,  representing  stories  in  the  life  of 
S.  Niccolo.  He  had  variety  of  invention,  animation,  and  force,  and 
a  highly  finished  execution. 

Pesne,  Jean,  born  at  Rouen  (1623-1700).  An  engraver  who  is 
more  remarkable  for  the  exactness  with  which  he  imitated  the 
different  masters  after  whom  he  engraved,  than  for  any  agreeable 
traits  of  his  own.  He  left  a  large  number  of  plates,  many  of  them 
after  the  works  of  Niccolo  Poussin. 

Peters,  Bonaventura,  born  at  Antwerp  (1614-1653).  A  painter 
of  marine  views.  His  works  have  a  poetic  character,  but  are  not 
always  true  to  nature.  They  are  very  rare  in  galleries,  although 
Vienna  is  an  exception  in  this,  and  has  five  of  his  pictures. 

Peters,  Jan,  born  at  Antwerp  (1625-1677).  Brother  of  Bona- 
ventura and  a  painter  of  similar  subjects. 

Petitot,  John,  the  Elder,  born  at  Geneva  (1607-1691).  A  cele- 
brated enamel  painter.  Some  of  his  miniature  copies  of  the  portraits 
of  Vandyck  were  very  beautiful.  He  was  a  favorite  of  Charles  I. 
and  Louis  XIV.  Many  of  his  miniatures  are  in  the  Mus.  at  Paris. 
He  requested  permission  of  Louis  to  return  to  Switzerland,  which  was 
granted  him,  after  an  absence  of  thirty-six  years  or  more.  Bordier, 
a  brother-in-law  of  Petitot's,  was  his  assistant,  but  his  fame  is  lost  in 
that  of  Petitot,  who  may  be  called  the  inventor  of  enamel  painting, 
as  he  first  brought  it  to  perfection.  John  Petitot,  the  Younger,  was 
very  inferior  to  his  father,  by  whom  he  was  instructed. 

Phidias,  born  at  Athens  about  500  B.  c.  Son  of  Charmides.  He 
first  turned  his  attention  to  painting,  but  afterwards  to  sculpture, 


PHIDIAS  —  PIGALLE.  453 

and  became  the  greatest  artist  (in  this  department)  that  the  world 
has  ever  seen.  He  was  a  favorite  with  Pericles,  and  in  the  works 
which  he  had  executed  for  the  adornment  of  Athens  Phidias  found 
full  scope  for  his  powers.  Many  of  his  statues  were  chryselephantine, 
and  the  two  most  wonderful  ones  were  the  ' '  Minerva  "  of  the  Par- 
thenon, and  the  "  Olympian  Jupiter  "  at  Elis.  His  adornment  of 
the  Parthenon  was  wonderful  in  beauty  of  design  and  execution,  and 
if  any  work  of  his  hand  still  remains,  it  must  be  seen  in  some  of  the 
statues  and  relievi  which  ornamented  the  exterior  of  this  temple. 
These  are  wonderfully  beautiful  and  truthful ;  they  display  a  perfect 
knowledge  of  anatomy,  a  skilful  management  of  drapery,  and  a  grand 
simplicity  of  style.  They  are  also  worthy  of  notice  for  the  perfect 
management  of  relief  shown  in  them,  both  of  alto  as  seen  in  the 
metopes,  and  of  basso  in  the  frieze.  The  crowds  of  figures,  both 
walking  and  ruling,  with  animals  for  sacrifice,  etc.,  etc.,  cannot  be  too 
much  commended  in  their  arrangement.  He  was  accused  of  various 
crimes  by  the  enemies  of  Pericles,  was  imprisoned,  and  died,  it  is 
said,  of  poison. 

Phillips,  Thomas,  born  at  Dudley  in  Warwickshire  (1770-1845). 
An  eminent  portrait  painter.  Some  of  the  most  noted  men  of  his 
time  sat  to  him,  such  as  Lord  Byron,  Lord  Brougham,  Tom  Moore, 
Southey,  Coleridge,  and  many  others.  In  1824  he  succeeded  Fuseli 
as  Professor  of  Painting  in  the  Acad.,  which  office  he  held  eight 
years.  His  portraits  have  been  called  "  the  Vandycks  of  England." 

Piazza.  The  name  of  a  family  of  artists  of  Lodi  who  flourished 
from  1490  to  1556.  Albertino  and  Martino  were  the  elder  ones,  and 
never  rose  above  mediocrity.  Some  of  their  works  are  still  seen  in 
Lodi.  Calisto,  son  of  Albertino,  was  the  most  excellent  artist  of  his 
name.  He  was  a  pupil  of  Romanino  of  Brescia.  Some  of  his  earlier 
pictures  are  in  this  city,  but  his  best  works  are  in  Lodi  in  the  ch. 
"dell'  Incoronata."  They  represent  scenes  in  the  life  of  S.  John 
Baptist,  and  are  characterized  by  great  purity  and  depth  of  senti- 
ment. 

Ficart,  Etienne,  born  at  Paris  (1631-1721).  This  engraver  was 
called  "  the  Roman."  He  has  left  a  great  number  of  plates.  He 
was  employed  to  engrave  (together  with  other  artists)  the  pictures 
in  the  King  of  France's  Coll.  His  plates  are  not  without  grave  faults. 

Pigalle,  Jean  Baptiste,  born  at  Paris  (1714-1785).  This  cele- 
brated sculptor  first  established  his  reputation  by  his  statue  of 
Mercury,  but  his  chef-d' ozuvre  is  the  tomb  of  Marechal  Moritz  of 
Saxony,  in  the  ch.  of  S.  Thomas  at  Strasburg.  The  soldier  is 
represented  in  his  own  costume,  about  to  enter  a  tomb,  on  one  side 
of  which  stands  Death  as  a  skeleton,  and  on  the  other  side  Hercules 
mourning.  An  impersonation  of  France  endeavors  to  hold  him  back 
from  the  tomb,  and  a  Genius  attends  with  an  inverted  torch.  There 
are  also  many  emblems  and  military  trophies  as  accessories.  This 


454  PIGALLE  —  PINTURICCHIO. 

sculpture  has  been  engraved  several  times.  Pigalle  was  much  em- 
ployed by  Mme.  de  Pompadour,  of  whom  he  made  a  statue.  Hia 
finest  work  in  Paris  is  the  tomb  of  Comte  d'Harcourt,  in  Notre  Dame. 

Pilgrim,  Hans  Ulrich,  or  Hans  Ulrich  Vaechtlein.  Known  as 
"  the  Master  of  the  crossed  Staves,"  was  a  skilful  engraver.  The 
time  of  his  birth  is  unknown.  It  is  believed  that  he  lived  principally 
in  Strasburg.  In  Germany  he  is  considered  the  inventor  of  engrav- 
ing en  camaieu.  Eleven  of  his  plates  are  known,  and  are  exact  in  de- 
sign and  well  executed. 

Pilon,  Germain,  died  1590.  A  French  sculptor  whose  works  are 
seen  at  the  Louvre,  the  ch.  of  S.  Denis,  etc. 

Pineda,  Bernardo  Simon,  is  principally  known  as  the  architect 
of  the  Hospital  of  Charity  at  the  time  of  its  rebuilding.  He  employed 
the  chisel  of  Roldan  in  sculptural  decoration,  arid  defrauded  him  in 
his  division  of  the  payments.  Pineda  was  also  much  employed  in  the 
Cath.  of  Seville,  when  it  was  prepared  for  the  reception  of  S.  Ferdi- 
nand. 

Pinelli,  Bartolommeo,  died  1835.  An  engraver  who  resided 
chiefly  at  Rome.  His  etchings  of  Roman  history,  Italian  costumes, 
manners,  etc.,  are  numerous  and  well  known.  He  also  etched  views 
in  the  neighborhood  of  Rome,  with  groups  of  banditti,  to  the  number 
of  200.  His  drawings  in  chalk  and  water-colors  are  much  esteemed 
and  are  very  spirited  in  execution. 

Pinturicchio,  Bernardino,  born  at  Perugia  (1454-1513).  He  was 
often  called  Sordicchio,  from  his  deafness  and  insignificant  appear- 
ance, but  Pinturicchio  was  his  usual  name.  He  was  a  partner  of 
Perugino.  His  earlier  works  no  longer  exist.  He  never  perfected 
himself  in  the  use  of  oil  mediums,  but  was  confined  almost  entirely  to 
tempera.  He  went  to  Rome  and  probably  labored  with  Perugino  in 
the  Sixtine  chapel.  He  afterwards  executed  almost  numberless  fres- 
coes in  the  churches  and  palaces  of  that  city.  He  was  first  patronized 
by  the  Rovere,  and  then  by  the  Piccolomini.  For  Alexander  VI.  he 
decorated  the  Apartamento  Borgia  in  the  Vatican ;  five  of  these  rooms 
still  remain  in  their  original  state.  His  pictures  in  the  Castle  of  S. 
Angelo  have  been  completely  destroyed.  During  his  engagements 
in  Rome  he  went  twice  to  Orvieto  for  the  execution  of  commissions 
there.  The  amount  of  his  labors  was  surprising,  but  is  explained  by 
his  great  facility  of  execution  and  the  employment  of  many  assistants. 
He  was  not  original  in  his  compositions ;  he  loved  landscapes,  but  he 
cumbered  them  with  too  much  detail ;  his  figures  of  virgins,  infants, 
and  angels  have  a  certain  coarseness ;  he  used  too  much  gilt  and 
ornamentation;  his  draperies  were  full,  but  often  badly  cast;  his 
works  are  either  too  gaudy  or  very  sombre,  no  pleasing  medium  seem- 
ing to  suggest  itself  to  him;  his  flesh  has  the  red  outlines  of  the 
earliest  tempera;  and  yet  with  all  these  faults  he  painted  at  a  time 
when  the  great  precepts  of  art  were  well  known,  and  his  works  are 


PINTURICCHIO  —  PIOMBO.  455 

good  exponents  of  skilled  labor,  in  art  without  any  striking  or  excep- 
tional power  in  the  artist.  It  is  scarcely  possible  here  to  give  more 
than  a  list  of  the  churches  in  which  he  painted ;  in  Home  they  were 
the  Araceli,  S.  Cecilia  in  Trastevere,  Santa  Croce  in  Gerusalemme, 
and  S.  Onofrio.  In  1496  he  returned  to  Perugia  and  undertook  an 
altar-piece  for  S.  Maria  de'  Fossi  (now  S.  Anna),  to  be  completed 
in  two  years.  This  is  the  most  finished  of  his  works,  and  more 
full  of  feeling  than  any  other.  He  next  adorned  the  collegiate  ch.  of 
Spello;  these  works  are  fast  disappearing  from  the  effects  of  damp- 
ness. He  was  next  called  to  Siena  by  Card.  Francesco  Piccolomini, 
to  decorate  the  Library  of  the  Duomo.  Here  he  painted  the  ceiling 
in  a  variety  of  designs,  with  the  shield  and  arms  of  the  Piccolomini 
in  the  centre;  and  the  walls  with  ten  scenes  from  the  life  of  -ZEneas 
Sylvius  or  Pius  II.  This  work  was  commenced  in  1503,  but  was  in- 
terrupted by  deaths  in  the  family  of  his  patron,  and  was  not  com- 
pleted until  1507,  he  having  filled  various  other  commissions  in  the 
mean  time.  It  is  said  with  great  probability  that  he  was  assisted  in 
the  Library  by  the  young  Raphael,  and  some  critics  have  been  wont 
to  attribute  the  best  features  of  all  Pinturicchio's  pictures  to  aid  from 
the  same  source.  But  this  should  not  be  so.  They  were  associated 
more  or  less,  without  doubt,  and  it  is  not  improbable  that  Raphael 
was  one  of  the  many  assistants  whom  the  master  hired  in  Perugia  for 
his  work  in  Siena;  but  there  are  many  reasons  why  the  credit  of  the 
best  of  Pinturicchio  should  not  be  given  to  Sanzio,  who  certainly  does 
not  need  any  such  praise.  There  are  many  circumstances  connected 
with  certain  cartoons,  many  similarities  of  figures  in  the  works  of  the 
two  masters,  which  make  us  feel  sure  of  their  association,  but  these 
Siena  frescoes  are  conceived  in  the  system  of  Pinturicchio.  This 
library  is  one  of  the  few  Italian  halls  that  retain  their  original  charac- 
ter. The  frescoes  are  discolored  and  injured  in  parts,  but  are,  on  the 
whole,  fairly  preserved.  It  is  probable  that  after  the  completion  of 
these  works  the  master  went  to  Rome,  and  returned  to  Siena  in  1509 
with  Signorelli,  who  stood  as  godfather  to  the  son  born  to  Pinturicchio 
in  the  beginning  of  that  year.  He  then  probably  entered  the  service 
of  Pandolfo  Petrucci.  His  last  authentic  picture  is  now  in  the 
Palazzo  Borromeo  at  Milan,  and  is  a  cabinet  size  of  "  Christ  bearing 
his  Cross."  It  was  painted  in  1513,  the  year  of  his  death.  Dreadful 
stories  have  been  told  of  the  manner  in  which  his  wife  Grania  treated 
him.  It  is  said  that  when  very  sick  she  left  him  to  die  of  starvation, 
but  this  lacks  confirmation.  His  works  are  seen  in  all  large,  and  in 
some  smaller  collections  of  Europe. 

Piombo,  Fra  Sebastiano  del,  real  name  Luciani.  Born  at  Ven- 
ice (1485-1547).  In  early  life  he  was  destined  by  his  father  to  be  a 
musician,  but  he  decided  for  himself  to  be  a  painter,  and  gained  his 
knowledge  of  his  art  from  Gio.  Bellini  and  Giorgione.  He  excelled 
in  coloring  and  in  breadth  of  chiaro-scuro.  From  the  very  first  it 


456  PIOMBO. 

was  evident  that  he  lacked  the  gift  of  composition,  and  though  he 
struggled  manfully,  this  want  and  that  of  elevation  seemed  to  define 
the  position  he  must  hold  as  a  painter.  This  inability  to  design 
great  subjects  did  not  affect  his  power  to  paint  portraits;  his  works 
in  this  department  were  magnificent.  That  of  Andrea  Doria  in  the 
Doria  Pal.,  is  by  some  considered  the  finest  portrait  in  the  world.  I 
believe  it  is  no  longer  to  be  seen  by  travellers.  A  cardinal  in  the 
Studj  Gall,  at  Naples,  a  female  portrait  in  the  Uffizi,  one  in  the 
National  Gall.,  and  one  in  the  Sta'del  Mus.  at  Frankfort  should  be 
mentioned.  The  last  two  are  claimed  to  represent  Giulia  Gonzaga, 
the  most  beautiful  woman  in  Italy.  In  1533  Ippolito  de'  Medici,  who 
was  madly  in  love  with  her,  sent  Sebastian  with  an  armed  force 
to  Fondi  to  paint  her  portrait ;  it  was  completed  in  a  month,  and  was 
sometimes  called  the  best  that  he  had  painted.  The  picture  was 
sent  to  Francis  I.  at  Paris,  but  its  present  place  is  not  positively 
known.  The  fame  of  his  portraits  is  all  his  own,  but  this  is  not  true 
of  his  other  works,  for  it  is  said  that  after  he  went  to  Rome,  Michael 
Angelo  assisted  him  with  designs  which  he  magnificently  colored. 
They  were  certainly  ardent  friends,  and  there  were  some  good  rea- 
sons for  it.  They  were  alike  in  temperament,  impulsive,  and  real- 
istic; they  loved  nature  alike;  they  hated  Raphael  together;  they 
equally  detested  monks  and  friars ;  they  both  loved  out-door  sketch- 
ing for  a  recreation ;  they  were  alike  in  their  muscular  forms,  and 
both  were  left-handed.  Sebastian  went  to  Rome  by  invitation  of 
Agostino  Chigi;  he  first  painted  in  the  Farnesina,  which  Peruzzi  had 
designed,  and,  together  with  Raphael,  had  adorned  for  the  luxurious 
banker.  Here  the  inferiority  of  Sebastian  was  apparent,  and  he  en- 
deavored to  improve  by  study  under  Buonarotti.  It  is  said  that  on 
account  of  the  growing  fame  of  Raphael,  Buonarotti  determined  to 
assist  Sebastian,  and  so  designed  for  him  to  color.  Card.  Giulio  de' 
Medici  gave  orders  to  Raphael  and  Sebastian  for  pictures  of  the 
same  size ;  they  were  the  ' '  Transfiguration  ' '  and  the  ' '  Resurrection 
of  Lazarus."  When  completed  they  were  exhibited,  and  even  by  the 
side  of  the  transcendent  beauty  of  Raphael's  work,  the  "  Lazarus  ' ' 
was  much  admired.  It  is  certainly  in  the  very  spirit  of  Michael 
Angelo.  It  was  one  of  the  important  works  of  the  16th  century. 
It  was  sent  to  Narbonne  by  the  Cardinal,  and  is  now  in  the  National 
Gall.  After  the  death  of  Raphael,  Sebastian  was  called  the  first 
oainter  in  Rome.  His  works  were  numerous  ;  some  fine  ones  are  in 
Jfadrid  and  St.  Petersburg;  many  are  in  Venice,  and  they  are  seen  in 
several  Continental  galleries.  When  he  was  made  piombatore  it  was 
necessary  for  him  to  be  an  ecclesiastic,  and  his  name  of  Luciano  was 
given  up  for  that  by  which  he  is  best  known,  Fra  Sebastiano  del 
Piombo.  He  wrote  to  Michael  Angelo,  "  If  you  were  to  see  me  as  an 
honorable  lord,  you  would  laugh  at  me.  I  am  the  finest  ecclesiastic 
in  all  Rome.  Such  a  tiling  had  never  come  into  my  mind.  But  God 


PIOMBO  —  PIRANESI. 


457 


be  praised  in  eternity !  He  seemed  especially  to  have  thus  decreed 
it.  And,  therefore,  so  be  it."  It  is  not  strange  that  he  should  have 
been  thus  resigned  to  a  high  office  with  the  salary  of  800  scudi  a 
year !  It  is  said  that  Sebastian  and  Michael  Angelo  disagreed  con- 


RAISING  OP  LAZARUS.      BY   SEBASTIAN  DEL  PIOMBO. 

In  the  National  Gall. 

cerning  the  painting  of  the  "  Last  Judgment,"  which  caused  a  con- 
tinued coldness  between  them,  but  this  needs  confirmation,  and  may 
well  be  doubted,  since  Vasari  did  not  mention  it. 

Piranesi,  Gio.  Battista,  born  at  Venice  (1721-1779).     An  emi- 


458  PIKANESI  —  PISANO. 

nent  designer  and  engraver  of  ruins,  architectural  subjects,  etc.  He 
has  been  called  the  ' '  Rembrandt  of  Architecture,"  on  account  of  his 
admirable  management  of  light  and  shade,  which  gave  force  and 
vigor  to  his  works.  His  pictures  of  ancient  ruins  are  not  always 
exact,  as  his  imagination  was  indulged  to  some  extent,  even  in  rep- 
resenting what  was  before  him.  He  was  of  a  fiery  temper,  and  dis- 
agreed seriously  with  Lord  Charlemont,  so  that  he  cut  out  the  arms 
of  that  nobleman  where  he  had  engraved  them  in  his  plates,  and  sub- 
stituted other  designs  in  their  places.  He  was  a  member  of  the 
London  Society  of  Antiquaries.  His  son  took  his  father's  plates  to 
Paris,  where  he  went  as  minister  for  the  Roman  Republic.  After 
the  son's  death  in  1810,  they  were  purchased  by  Didot,  but  now  be- 
long to  the  government  of  Rome,  and  are  in  the  Vatican.  They 
number  nearly  2000.  His  son  Francesco  and  his  daughter  Laura 
also  engraved  the  same  class  of  subjects  as  did  the  father. 

Pisauello.  Real  name  Vittore  Pisano.  Born  at  Verona.  There 
is  much  uncertainty  concerning  the  birth,  education,  etc.,  of  this 
painter.  It  is  said  that  he  painted  with  Gentile  da  Fabriano  in 
the  Lateran,  and  that  he  died  in  1451.  Many  of  his  works  are  pre- 
served in  Verona,  his  native  city,  and  show  him  to  have  been  a 
graceful  and  attractive  painter. 

Pisano,  Niccola,  born  at  Pisa  (about  1206-1278).  According  to 
the  custom  of  his  time  he  was  both  architect  and  sculptor.  At  the 
early  age  of  fifteen  he  was  appointed  architect  to  Frederic  II.,  with 
whom  he  went  to  Naples.  In  the  service  of  this  sovereign  he  passed 
ten  years,  and  then  went  to  Padua,  where  he  made  the  design  for  the 
Basilica  di  S.  Antonio.  The  first  known  attempt  which  he  made  as 
a  sculptor  resulted  in  his  alto-rilievo  of  the  "  Deposition  from  the 
Cross,"  which  now  fills  a  lunette  over  a  door  of  the  Cath.  of  S.  Mar- 
tino  at  Lucca.  This  is  most  excellent  as  the  work  of  an  untutored 
artist,  as  he  was  at  that  time,  and  it  shines  by  comparison  with  works 
of  his  contemporaries  which  are  near  it.  The  statuettes  of  the  Mis- 
ericordia  Vecchia  at  Florence  are  of  about  the  same  merit  as  this 
bas-relief.  In  1248  Niccola  went  to  Florence  to  assist  the  Ghibel- 
lines  in  their  work  of  destruction ;  he  was  commissioned  to  overturn 
the  tower  called  Guardamorto,  in  such  a  way  as  to  destroy  the  Bap- 
tistery; he  overturned  the  tower,  but  it  did  not  fall  in  the  anticipated 
direction,  and  we  may  believe  that  this  was  in  accordance  with  his 
intention,  although  it  was  attributed  to  a  special  miracle,  by  Villani. 
During  the  twelve  succeeding  years  he  was  employed  in  making  de- 
signs for  the  building  and  remodelling  of  many  churches  and  palaces. 
The  ch.  of  Santa  Trinita  at  Florence  is  one  of  the  best  known  of  his 
works  of  this  period.  In  1260  Niccola  established  his  fame  as  a 
sculptor  by  the  magnificent  pulpit  which  he  executed  for  the  Baptis- 
tery at  Pisa.  Of  course  marks  of  his  comparative  inexperience  can 
be  found  in  this  work,  but  taken  all  in  all  it  almost  challenges  criti- 


PISANO. 


459 


cism.  His  next  work  was  the  "  Area  di  S.  Domenico,"  at  Bologna, 
which  is  now  surrounded  with  a  maze  of  beautiful  sculptures  of  which 
the  "  Area  "  is  the  centre,  and  is  of  great  interest  as  illustrating  the 
art  of  the  13th  century.  In  1266  Niccola  went  to  Siena  to  make 
the  pulpit  for  the  Duomo.  This  is  similar  to  that  of  Pisa  in  many 
ways,  but  not  as  effective,  because  surrounded  by  other  objects  of 
interest,  and  in  a  larger  space,  while  at  Pisa  the  pulpit  seems  almost 


the  only  thing  to  attract  the  attention.  In  1269  he  was  commissioned 
to  build  the  Abbey  and  Convent  of  La  Scorgola,  which  are  now  in 
ruins.  In  1274  he  commenced  the  fountain  of  Perugia,  which  was 
Uis  last  work.  The  authorities  of  the  city  made  severe  laws  for  its 
preservation,  and  it  was  considered  the  most  precious  possession  of 
the  city.  In  1278  Niccola  died,  after  a  life  of  great  usefulness,  for 
his  influence  had  been  felt  through  all  Italy.  His  services  could 


460  PISANO. 

never  be  estimated;  he  had  founded  a  new  school  of  sculpture  ;  had 
put  behind  him  the  standards  of  barbarism;  in  architecture,  too,  the 
same  may  be  said,  and  in  the  words  of  Mr.  Perkins,  "  He  was  truly 
a  great  man,  one  to  whom  the  world  owes  an  eternal  debt  of  gratitude, 
and  who  looms  up  in  gigantic  proportions  through  the  mist  of  five 
centuries,  holding  the  same  relation  to  Italian  art  which  Dante  holds 
to  Italian  literature."  In  his  life  he  was  respected  and  loved  by  all 
who  came  in  contact  with  him,  be  it  as  patron,  friend,  or  servant. 

Pisano,  Gio.,  born  at  Pisa  (about  1240-1320).  He  seems  to  have 
inherited  much  of  his  father's  genius,  but  had  an  entirely  different 
taste.  Gothic  architecture  was  his  choice,  and  he  was  fond  of  exag- 
geration and  fantastic  action  and  expression  in  sculpture.  He  worked 
much  under  Niccola,  and  assisted  him  with  the  Perugian  fountain. 
As  early  as  the  making  of  the  Siena  pulpit,  he  was  a  master  in  his 
own  right,  and  went  in  1268  to  Naples  to  fulfil  a  commission  from  the 
Franciscans  there;  he  also  designed  the  Episcopal  Palace.  After  the 
death  of  Niccola,  the  Pisans  were  anxious  to  have  Giovanni  remain 
in  his  native  city,  where  he  executed  important  works.  The  ch.  of 
S.  Maria  della  Spina  was  the  first  example  in  Italy  of  the  pointed 
architecture,  and  is  a  most  pleasing  one.  In  1278  he  was  chosen  to 
build  the  Pisan  Campo  Santo ;  it  was  the  first  and  the  most  beautiful 
one  of  all  Italy.  It  is  too  well  known  to  be  described  in  our  limited 
space,  but  it  seems  that  nothing  could  have  been  more  fitting  for  its 
purpose  than  the  plan  which  he  adopted.  Many  of  the  sculptures 
here  were  also  by  his  hand.  The  representation  of  Pisa  was  the 
first  attempt  at  making  large  statues  in  Italy,  since  the  days  of  Con- 
stantine.  It  is  a  strange,  and  in  many  respects  an  unlovely  work; 
and  yet  it  has  great  intensity  of  expression  in  its  principal  figure, 
and  displays  the  originality  of  Giovanni.  He  gained  much  reputa- 
tion from  this,  and  in  1286  went  to  Siena,  where  he  was  commis- 
sioned to  "build  the  facade  of  the  cathedral.  The  people  of  Siena  were 
very  desirous  that  he  should  fix  his  home  there ;  the  magistrates  made 
him  a  citizen  and  exempted  him  from  taxes  for  fife  ;  but  he  remained 
only  three  years,  and  went  next  to  Perugia.  In  this  city  he  made  a 
monument  to  Urban  IV.,  which  no  longer  exists.  From  this  time,  he 
devoted  himself  almost  wholly  to  sculpture.  At  Arezzo,  he  made  the 
shrine  of  S.  Donate  for  the  cathedral,  which  cost  (including  jewels 
for  the  Madonna,  enamels,  and  silver  bas-reliefs)  30,000  florins.  It 
was  a  superb  work  of  art.  His  next  work  was  done  as  a  rival  to  "II 
Tedesco,"  a  sculptor  who  had  made  a  pulpit  for  the  ch.  of  S.  Gio- 
vanni at  Pistoja,  which  was  much  praised.  A  new  pulpit  was  also 
to  be  made  for  the  ch.  of  S.  Andrea,  and  there  were  those  in  Pistoja 
who  had  so  admired  Niccola  Pisano  that  they  desired  to  have  his  son 
to  do  it;  he  excelled  his  rival  in  every  way,  and  fully  supported  the 
reputation  he  had  already  gained.  Our  artist  now  went  to  Florence. 
This  was  a  prosperous  time  there,  and  Giovanni  remained  two  years; 


PISANO  -  POILLY.  461 

but  in  spite  of  his  reputation,  he  received  but  one  order  during  that 
time.  In  1305  he  was  commissioned  to  make  the  monument  of  Pope 
Benedict  XI.,  still  remaining  in  S.  Domenico  at  Perugia ;  and  some- 
what later,  another  monument  of  S.  Margaret  in  the  ch.  of  that  saint, 
at  Cortona.  The  general  arrangement  of  the  two  was  similar,  and 
in  both  cases  angels  were  holding  back  curtains  and  regarding  the 
figures  with  sorrow.  In  1312  he  commenced  rebuilding  the  Cath.  of 
Prato.  He  did  not  live  to  see  it  completed,  but  his  designs  were 
carried  out  with  precision.  He  had  neither  the  dignity  nor  the  feel- 
ing for  beauty  which  Niccola  so  largely  possessed ;  but  his  style  is 
uncommon  and  very  dramatic,  and  could  not  have  belonged  to  a  man 
of  inconsiderable  genius.  He  had  many  pupils,  among  whom  was 
the  distinguished  Andrea  Pisano. 

Pisaiio,  Andrea  (1270-1345).  His  works  as  an  architect  were 
very  few,  and  as  a  sculptor,  they  were  not  numerous.  He  spent 
some  time  in  Venice.  He  gained  a  great  reputation  as  a  bronze- 
caster,  and  was  intrusted  with  the  execution  of  the  gates  to  the  Bap- 
tistery of  Florence.  On  this  work  his  fame  almost  entirely  rests. 
They  are  now  displaced  by  Ghiberti's  gates,  but  when  they  were 
completed  in  1339,  all  Florence  was  in  an  ecstasy  regarding  them, 
and  the  Signory  went  in  state  to  praise  him,  and  did  him  the  honor 
to  make  him  a  citizen.  It  was  not  the  custom  of  the  Signory  to  leave 
the  Palazzo  Vecchio  in  a  body,  except  on  the  most  solemn  and  im- 
portant occasions.  He  may  be  regarded  as  the  reviver  of  bronze 
sculpture,  which  had  constantly  declined  from  the  antique,  and  in 
which  no  work  had  been  produced  at  all  comparable  with  the  gate  of 
Andrea  Pisano. 

Pitau,  Nicholas,  born  at  Antwerp  (1633-1696  ?).  An  engraver 
of  historical  subjects  after  various  masters.  His  plates  were  numer- 
ous and  are  held  in  well  deserved  estimation. 

Ploos.     See  Amstel. 

Poccetti.     See  Barbatelli. 

Poel,  Egbert  van  der.  Flourished  about  1660.  Many  of  his 
pictures  are  rude  and  false  in  effect,  but  a  few  are  surprisingly  bet- 
ter. The  best  were  conflagrations.  His  works  are  seen  in  the 
Louvre,  Amsterdam  Mus.,  and  the  Mus.  at  the  Haguo. 

Poelemberg,  Kornelis,  born  at  Utrecht  (1586-1660).  Pupil  of 
Abraham  Bloemaert;  he  visited  Rome,  where  he  adopted,  as  far  as  he 
was  able,  the  elegance  of  the  Italian  school.  He  represented  many 
stories  from  sacred  history  and  from  mythology,  with  nude  figures  in 
richly  colored  landscapes.  His  execution  was  extremely  labored  and 
finished.  His  least  commendable  feature  is  his  drawing.  His  works 
are  in  nearly  all  European  galleries.  The  "  Annunciation  to  the 
Shepherds,"  in  the  Louvre,  is  one  of  his  best  pictures. 

Poilly,  Francis,  the  Elder,  born  at  Abbeville  (1622-1693).  This 
eminent  engraver,  whose  works  are  deservedly  esteemed,  left  about 


462  POILLY  —  POLYCLEITUS. 

400  plates,  including  those  executed  by  his  pupils  under  his  super- 
vision. Nagler  describes  170  which  he  believes  to  be  entirely  his 
own.  They  are  so  uniform  in  style,  that  it  is  difficult  to  select  a 
chef-d'oeuvre.  The  choice  seems  to  depend  upon  the  taste  of  each 
one  who  judges.  That  of  the  "  Flight  to  Egypt,"  after  Guido,  and 
the  "  Holy  Family,"  after  Raphael,  are  almost  universal  favorites. 
"  S.  Charles  Borromeus  administering  the  Sacrament,"  after  Mignard 
is  very  fine.  There  were  several  other  engravers  of  the  same  name 
and  family. 

Polidoro.     See  Caldara. 

Follaiuolo,  Antonio  and  Piero,  born  in  Florence  in  1433  and 
1443.  Antonio  died  in  1498,  but  the  time  of  Piero' s  death  is  not 
known.  They  were  goldsmiths  and  workers  in  bronze  and  silver 
ornaments,  and  also  painters.  Their  pictures  were  much  affected  by 
their  other  occupations,  and  seemed  to  be  copies  of  their  other  works; 
even  the  colors  were  such  as  to  suggest  bronze  and  silver  ornaments. 
These  brothers  excelled  especially  in  the  knowledge  of  anatomy, 
and  it  is  said  that  Antonio  was  the  first  artist  who  dissected  the 
human  body  in  order  to  know  how  to  represent  it.  Their  most  ex- 
cellent productions  represented  contests  of  strength  and  muscular 
action,  such  as  "  Hercules  and  Hydra,"  and  the  "  Death  of  Antaeus." 
This  is  Jess  true  of  Piero  than  Antonio,  but  applies  to  both.  Antonio 
is  celebrated  as  the  best  goldsmith  of  his  time,  and  he  received  many 
important  commissions  from  church  and  state.  He  was  constantly  in 
communication  with  Lorenzo  de'  Medici  regarding  his  art  and 
matters  related  thereto.  He  made  bronze  monuments  for  the  Popes 
Sixtus  IV.  and  Innocent  VIII.  The  first  is  now  in  the  Chapel  of  the 
Sacrament  in  S.  Peter's.  In  painting,  their  model  was  Andrea  del 
Castagno.  It  is  difficult  to  separate  their  works  and  say  to  which  of 
the  brothers  particular  ones  belong,  but  it  is  safe  to  say  that  those 
which  are  most  pictorial  in  character  were  done  by  Piero.  Their 
masterpiece  is,  without  doubt,  the  "  S.  Sebastian"  in  the  National 
Gall.  It  is  a  fine  work,  without  being  refined  or  in  the  least  idealistic ; 
it  has  been  unduly  praised  by  some  writers.  The  "  Archangel  and 
Tobit,"  in  the  Gall,  of  Turin,  is  an  excellent  example  of  their  manner. 
Their  pictures  are  in  the  different  galleries  of  Florence,  in  Berlin, 
Munich,  and  Modena. 

Polycleitus,  the  Elder.  This  celebrated  statuary  was  probably  a 
native  of  Sicyon  and  a  citizen  of  Argos.  He  was  the  pupil  of 
Ageladas  and  fellow-pupil  of  Phidias  and  Myron.  His  time  was, 
as  nearly  as  can  be  told,  B.C.  452-412.  The  difference  between 
Phidias  and  Polycleitus  was,  that  the  former  was  perfect  in  his 
representations  of  the  gods,  and  the  latter  in  those  of  men,  and 
each  one  was  preferred  before  the  other  according  to  the  taste  of  the 
person  judging.  Polycleitus  received  the  highest  encomiums  of  praise 
from  Pliny"  Cicero,  Dionysius  of  Halicarnassus,  Quintilian,  etc.  He 


POLYCLEITUS. 


463 


was  a  worker  in  marble  and  bronze,  an  architect,  and  a  toreutic 
artist.  He  also  wrote  a  treatise  on  the  proportions  of  the  human 
body,  called  Kavw,  and  made  a  statue  of  the  same  name,  in  which 
his  theory  was  exemplified.  Regarding  his  works  which  remain 
there  has  been  much  discussion.  I  agree  with  Liibke,  who  believes 


HEAD   OF  JUNO. 

Ludovisi  Villa,  Rome. 

the  Berlin  "  Amazon,"  and  the  copy  in  the  Braccio  Nnovo,  to  be 
Polycletan;  the  head  of  Juno,  in  the  Villa  Ludovisi,  is  attributed  to 
this  artist;  we  give  an  engraving  of  it,  but  doubt  its  being  by  Poly- 
cleitus.  He  had  many  pupils,  and  exercised  great  influence  upon  the 
school  of  Argos. 


464  POLYDORUS  —  PORTA. 

Polydorus.     See  Agesander. 

Fonte,  Francisco  da,  Jacopo  da,  Francisco  da,  Gio.  Batista 

da,  Leandro  da,  Girolamo  da.     See  Bassano. 

Pontius,  Paul,  born  at  Antwerp  about  1596.  Pupil  of  Lucas 
Vorsterman.  He  was  one  of  the  very  best  Flemish  engravers,  and 
his  plates  are  much  esteemed.  He  made  many  engravings  after 
Rubens,  and  Vandyck.  He  seemed  fully  to  imbibe  the  spirit  of 
Rubens,  who  was  his  friend,  and,  in  truth,  he  adapted  himself 
wonderfully  to  whatever  artist  he  copied. 

Pontormo.     See  Carucci. 

Ponzio.  This  sculptor  is  the  "  Maitre  Ponce  "  of  the  French, 
and  probably  identical  with  Ponce  Jacquio.  His  works  are  at  the 
Louvre  and  at  S.  Denis. 

Pordenone,  Gio.  Antonio  Licinio  Regillo  da,  born  at  Porde- 
none  (1484-1539).  He  was  of  the  same  class  of  painters  as  Gior- 
gione  and  Titian,  and  may  perhaps  be  called  a  rival  of  the  latter. 
His  composition  was  very  simple;  his  heads  rarely  speak  of  deep 
passion  ;  and  his  chief  excellence  was  color.  He  painted  flesh  with 
a  marvellous  softness.  His  portraits  were  fine,  and  he  frequently 
represented  several  persons  on  one  canvas.  We  have  very  few  easel 
pictures  by  Pordenone,  and  those  which  are  attributed  to  him  in  gal- 
leries, are  oftentimes  proved  not  to  be  his,  or  are  under  so  much 
doubt,  that  it  is  unsafe  to  risk  a  list  of  them.  The  u  Glory  of  S.  Lo- 
renzo Giustiniani,"  in  the  Acad.  of  Venice,  is  one  of  his  finest  works. 
Much  has  been  said  of  the  "  Woman  taken  in  Adultery,"  in  the  Ber- 
lin Mus.,  but  it  is  so  repainted  (the  heads  of  the  Saviour  and  the 
Woman  being  almost  new),  that  it  can  do  little  honor  to  any  artist 
of  the  16th  century.  His  frescoes  at  Venice  have  nearly  all  perished. 

Porta,  Baccio  della,  Fra  Bartolommeo,  or  H  Frate,  born  at 
Savignano  (1469-1517).  He  was  a  pupil  of  Cosimo  Roselli  in  Flor- 
ence, and  lived  near  the  gate  of  S.  Piero,  from  which  circumstance 
was  derived  his  name  of  della  Porta.  He  was  the  intimate  friend  of 
Mariotto  Albertinelli.  He  had  acquired  great  fame  for  the  beauty 
of  his  Madonnas,  and  had  been  commissioned  to  execute  a  fresco  of 
the  "  Last  Judgment "  in  the  Convent  of  S.  Marco,  about  the  time 
when  Savonarola  went  to  Florence  to  preach  against  the  sinfulness 
of  the  city.  Bartolommeo  became  the  earnest  friend  of  the  preacher, 
and  was  so  carried  away  by  his  influence,  that  he  burned  all  his 
studies  and  drawings  of  profane  subjects  and  those  which  repre- 
sented nude  figures.  He  abandoned  his  art,  and  spent  his  time  in  the 
society  of  the  enthusiast.  When  at  length  Savonarola  was  seized, 
tortured,  and  burned,  Bartolommeo  took  the  vows  of  a  Dominican 
friar,  and  left  his  unfinished  pictures  to  be  completed  by  Albertinelli. 
During  four  years  he  led  a  most  austere  life,  never  touching  his 
pencil.  His  superior  then  commanded  his  practice  of  his  art,  and  he 
resumed  it  with  languor  and  entire  want  of  interest.  About  this 


PORTA. 


465 


time  Raphael  arrived  in  Florence;  he  was  but  twenty-one,  but 
already  a  great  painter;  he  visited  the  friar's  cell,  and  a  deep  friend- 
ship between  the  two  was  the  consequence ;  to  this  we  owe  the  after 
works  of  Fra  Bartolommeo.  Raphael  instructed  him  in  perspective, 
and  he  in  turn  gave  new  ideas  of  drapery  to  Raphael.  Fra  Bar- 
tolommeo was  the  first  to  employ  lay  figures  in  the  study  of  drapery ; 
he  also  imparted  to  Raphael  his  mode  of  coloring.  The  examination 
of  the  works  of  these  painters  will  prove  that  from  this  time  both 
of  them  produced  more  excellent  pictures  than  they  had  done  before ; 
the  friar  had  caught  an  intellectual  grace  from  his  young  friend,  and 
Raphael  had  advanced  in  color  and  drapery.  About  1513,  Fra 


THE   DESCENT   FROM  THE   CROSS.      BY   FRA   BARTOLOMMEO. 

In  the  Pitti  Gall. 

Bartolommeo  was  allowed  to  go  to  Rome.  This  visit  was  doubtless 
a  deep  joy  to  him,  but  the  beauties  of  what  he  saw  so  far  exceeded 
his  imaginations,  that  he  seems  to  have  been  stupefied ;  he  made  no 
attempt  to  equal  or  excel  the  artists  about  him,  and  only  commenced 
two  figures  of  SS.  Peter  and  Paul,  which  Raphael  finished  after  his 
return  to  Florence.  When  once  more  in  his  convent,  Bartolommeo 
showed  the  benefit  he  had  received,  and  executed  the  "Madonna 
della  Misericordia,"  now  at  Lucca,  and  considered  by  many  as  his 
most  important  work.  It  had  been  said  that  he  could  do  nothing 
"Timd;  he  now  painted  the  "  S.  Mark"  which  is  in  the  Pitti  Pal.,  and 
is  so  simply  grand  as  to  be  compared  to  the  remains  of  Grecian  art. 
He  only  lived  four  years  utter  going  to  Rome,  and  died  at  a  time 
30 


466  PORTA  —  POURBUS. 

when  his  powers  seemed  daily  increasing.  His  character  was  im- 
pressed on  all  his  works ;  when  Savonarola  was  seized  he  hid  him- 
self, and  vowed  that  if  he  escaped  he  would  become  a  monk.  This 
want  of  courage  and  energy  we  must  admit,  but  he  was  enthusiastic, 
devout,  and  loving  in  his  nature.  His  saints  and  virgins  are  tender, 
mild,  and  full  of  sweet  dignity,  and  if  we  characterized  his  pic- 
tures in  one  word,  holiness  is  that  we  should  use,  for  it  is  that  which 
they  most  express.  His  boy  angels  were  beautifully  painted,  and  his 
representations  of  architecture  were  rich  and  grand.  His  works  are 
rare.  Besides  those  we  have  mentioned,  the  "  Presentation  in  the 
Temple,"  in  the  Vienna  Gall.,  is  most  important.  The  Louvre  has 
two  of  his  pictures  and  the  Berlin  Mus.  one,  but  he  is  best  studied  in 
Florence,  where  the  larger  number  of  his  works  remain. 

Porta,  Guglielmo  della.  One  of  the  ablest  sculptors  among  the 
followers  of  Michael  Angelo.  His  most  important  work  was  the 
monument  to  Paul  HI.,  in  the  tribune  of  S.  Peter's.  Two  statues  of 
"  Peace  "  and  il  Abundance,"  which  formerly  made  a  part  of  this 
work,  are  now  in  the  Farnese  Palace. 

Potter,  Paul,  born  at  Enkhuysen  (1625-1654).  "  One  touch  of 
Nature  makes  the  whole  world  kin."  The  truth  of  this  finds  proof 
in  the  sympathetic  pleasure  with  which  thousands  have  regarded  the 
eminently  truthful  representations  of  Nature  by  this  artist.  His 
works  are  made  up  of  few  objects  —  an  open  landscape,  a  few  ani- 
mals, perhaps  a  shepherd,  and  this  is  almost  all.  He  settled  at  the 
Hague  early  in  life;  he  had  there  full  opportunity  for  such  studies  as 
he  wished  to  make.  Later  he  removed  to  Amsterdam,  and  this  is 
attributed  to  the  folly  of  his  wife,  to  whom  he  was  devotedly  attached; 
it  is  said  that  she  had  many  admirers,  and  was  detected  by  her  hus- 
band in  listening  to  one;  he  threw  a  net,  which  he  carried,  over  both, 
and  exposed  them  to  the  ridicule  of  friends ;  soon  after  he  removed 
to  Amsterdam,  where  he  died  and  was  buried.  He  had  a  daughter 
three  years  old,  when  he  died.  He  was  remarkable  for  the  early 
age  at  which  he  attained  great  excellence.  Though  he  lived  so  few 
years,  he  left  many  works;  103  pictures  and  18  etchings,  besides 
numerous  drawings  and  studies  of  a  variety  of  subjects.  Perhaps 
no  one  work  of  his  is  so  well  known  as  the  "  Young  Bull,"  at  the 
Hague.  Two  other  pictures  of  the  same  year  (1647)  are  in  private 
collections.  The  Cassel  Gall.,  Amsterdam  Mus.,  the  Louvre,  and  the 
Imperial  Gall,  of  St.  Petersburg,  all  have  his  works.  In  the  Berlin 
cabinet  of  engravings  there  are  four  books  of  his  studies,  in  their 
original  boar-skin  bindings.  That  he  was  more  successful  with  cat- 
tle and  sheep  than  with  horses  is  plainly  seen  in  his  etchings.  Among 
these  "  Le  Vacher  "  and  "  Le  Berger  "  may  be  particularized  for 
excellence ;  but  all  are  fine. 

Pourbus,  Pieter,  born  at  Gouda  (1510-1584).  He  Went  early  to 
Bruges,  which  city  has  many  of  his  fine  works.  In  an  age  of  excel- 


POURBUS  —  POUSSIN. 


467 


lent  portrait  painters,  he  ranked  very  high,  and  his  historical  subjects 
show  the  hand  of  a  good  master.  He  was  much  considered  in 
Bruges;  he  served  as  Dean  of  the  Corporation  of  Painters,  and  after 
his  death,  his  widow  was  pensioned  by  the  town.  His  son,  Frans 
Pourbus,  the  Elder,  born  at  Bruges  (1540-1580),  and  his  grandson, 
Frans,  the  Younger,  born  at  Antwerp  (1570-1622),  were  also  good 
portrait  painters. 

Poussin,  Nicholas,  born  at  Andelys  in  Normandy  (1594-1665). 
He  studied  first  with  Varin,  then  worked  with  Nicholas  Duchesne, 
and  at  length,  in  1624,  went  to  Rome,  where  his  career  as  an  artist 
commenced  in  reality.  He  entered  the  school  of  Sacchi,  and  re- 
ceived some  instruction  in  that  of  Domenichino,  but  he  formed  his 
style  by  the  study  of  the  antique  and  of  Raphael.  It  is  often  said 


M«)SES   AT   TUB   Sl'KING.       BY    N.    1'OUSSIN. 

that  his  works  resemble  a  painted  rilievi.  He  became  almost  an  an- 
cient in  his  modes  of  thought,  from  familiarity  with  their  history  and 
customs.  When  first  in  Rome,  he  was  in  great  poverty,  but  at 
length  began  to  be  known  and  employed.  His  fame  reached  France, 
and  Louis  XIII.  invited  him  to  return  to  his  own  country.  He  was 
given  apartments  in  the  Tuileries,  and  received  many  honors,  but 
he  longed  for  Rome  again.  He  made  the  plea  of  going  for  his  wife, 
and  as  the  King  soon  died,  he  never  returned.  Although  he  re- 
ceived more  orders  than  he  could  fill,  he  asked  prices  so  moderate 
that  he  was  never  rich;  but  he  did  not  desire  to  be  so.  When  a  rich 
cardinal  pitied  him  for  his  lack  of  servants,  he  replied  by  pitying  him 


468  POUSSIN  —  PRATT. 

for  his  abundance  of  them.  His  portrait  painted  by  himself  is  in  the 
Louvre.  The  "  Seven  Sacraments,"  of  which  he  painted  two  series 
(both  now  in  England) ,  are  among  his  important  works.  His  "  Bac- 
chanalian Dance,"  National  Gall.,  is  a  masterpiece,  and  in  this  class 
of  subjects  his  power  was  truly  wonderful.  He  is  accredited  with 
most  perfect  knowledge  of  the  imitation  of  antiques  by  Sir  Joshua 
Reynolds  and  other  writers  on  Art. 

Poussin,  Gaspar.  Real  name,  Gaspre  Dughet.  Nicholas  Poussin 
had  married  his  sister,  and  was  the  teacher  of  Gaspar,  who  for  these 
reasons  was  called  by  his  name.  Born  in  Rome  (1613-1675).  He 
showed  so  much  taste  for  landscape  painting  that  Nicholas  led  him 
to  devote  himself  to  that  especially.  His  pictures  have  a  dark, 
solemn  effect,  from  the  use  of  very  dark  backgrounds. 

Pradier,  James,  born  at  Geneva  (1790-1832).  This  artist  was 
little  fitted  for  religious  representations,  as  is  Seen  in  his  works  for  S. 
Clotilde  and  the  Madeleine,  but  he  excelled  in  representing  purely 
sensual  female  beauty.  The  fountain  of  Nismes  is  a  masterpiece ;  the 
drapery  is  noble  and  distinct  in  treatment,  and  the  lines  beautifully 
arranged,  while  the  figures  and  the  whole  form  of  the  work  is  fine. 
The  serious  and  comic  Muses  of  the  Fontaine  Moliere  are  excellent. 
Of  his  female  figures  we  may  mention  his  Psyche,  and  Atalanta,  and 
the  despairing  Sappho,  his  last  work.  His  Prometheus,  erected  in 
the  garden  of  the  Tuileries  in  1832,  is  an  example  of  how  grand  and 
spirited  he  could  be.  There  are  works  of  his  in  the  Louvre  designed 
after  the  antique,  which  are  good  in  composition  and  arrangement  of 
lines,  and  display  great  technical  skill. 

Prado,  Bias  del,  born  at  Toledo  (probably  1540-1600).  He 
painted  many  pictures  for  the  churches  and  convents  of  Toledo  and 
Madrid.  In  1593  the  Emperor  of  Morocco  desired  Philip  to  send 
him  a  painter.  Philip  made  answer  that  in  Spain  they  had  both 
ordinary  and  excellent  painters,  and  asked  which  he  would  have. 
The  Moor  haughtily  replied,  "  Kings  should  always  have  the  best." 
Philip  sent  Bias  del  Prado.  He  remained  several  years  and  so 
pleased  the  monarch  that  he  sent  him  home  with  generous  gifts.  He 
excelled  in  painting  fruits  and  flowers,  and  was  accustomed  to  put 
garlands  around  his  pictures  of  Madonnas  and  Saints.  In  the  Acad. 
of  S.  Ferdinand,  at  Madrid,  there  is  a  picture  by  Prado,  of  the  Vir- 
gin, with  the  Infant,  seated  on  clouds.  Beneath  is  a  tower,  and  a 
nun  and  a  man  in  a  black  dress  aro  kneeling  in  prayer.  In  the 
Queen  of  Spain's  Gall.,  there  is  a  picture  of  Mary,  Infant  Christ,  and 
S.  Joseph,  attended  by  SS.  John  and  Ildefonso.  This  was  probably 
a  votive  picture  given  to  some  shrine  by  Alonso  do  Villegas,  who  is 
represented  as  adoring  the  Virgin,  who  regards  him  kindly. 

Pratt,  Matthew,  born  in  Philadelphia  (1734-1805).  He  painted 
signs  in  a  manner  which  won  for  him  much  praise,  and  also  made 
good  portraits  of  the  leaders  of  American  life  in  his  day,  which  pos- 


PfcATT  —  PREVITALI. 


469 


sess  much  historical  interest  rather  than  great  merit,  when  artisti- 
cally considered.  He  escorted  the  bride  of  Benjamin  West  (to  whom 
he  was  related)  to  London,  and  gave  her  away  at  the  altar.  He  then 
studied  four  years  with  West,  and  painted  portraits  of  several  emi- 
nent persons.  After  his  return  he  occupied  an  honorable  position  in 
his  native  city,  and  assisted  Peale  in  establishing  his  museum.  He 
made  portraits  of  many  prominent  members  of  the  Philadelphia  Con- 
vention of  1788. 

Praxiteles.  Probably  born  about  392  B.  c.  He  was  a  celebrated 
sculptor  in  bronze  and  marble,  but  his  most  famous  works  were  of 
the  latter.  He  loved  to  repre- 
sent beauty,  youth,  and  dreamy 
happiness.  His  representations 
of  Venus  and  Cupid  are  most 
praised  by  4hose  who  write  of 
him.  Of  the  first  we  can  judge 
only  by  Cnidian  coins.  It  was 
considered  worth  a  journey  to 
Cnidus  to  see  his  Venus,  and 
when  King  Nicomedes  of  Bithy- 
nia  offered  to  pay  all  their  debts 
for  this  one  statue,  the  Cnidians 
refused.  There  are  existing 
copies  of  his  works  which  make 
us  fully  realize  what  the  origi- 
nals must  have  been.  Among 
these  are  the  Cupid  in  the  Vat- 
ican; a  Satyr  in  the  Capitol, 
Rome ;  an  Apollo  in  the  Louvre, 
and  another  in  Florence,  Trib- 
une of  Uffizi;  and  a  statue  at 
Naples  called  Narcissus,  Pan, 
and  Bacchus,  by  different  crit- 
ics. 

Preti,  Cavalier  Mattia. 
Called  II  Calabrese.  Born  at 
Taverna  (1613-1699).  One  of 
the  less  important  Naturalisti. 
Pupil  of  Guercino.  He  chose 
gloomy  subjects;  his  composi- 
tion was  copious,  his  design 
bold,  and  his  use  of  heavy  shad- 
ows very  effective. 

Frevitali,   Andrea,   born  at 

Bergamo,        Flourished      from  A  SATYR.    AFTER  PRAXITELES. 

1506  to  1528.     A  pupil  of  Gio.  Capitol,  limn.-. 


470  PREVITALI  —  PULIGO! 

Bellini,  and  a  follower  of  his  manner.  His  works  are  quite  numer- 
ous. The  most  important  are  in  Bergamo;  an  altar-piece  in  S. 
Spirito  is  one  of  the  best.  The  Manfrini  Gall,  at  Venice,  the  Berlin 
Mus.,  and  the  National  Gall,  have  his  works. 

Primaticcio,  Francesco,  born  at  Bologna  (1490-1570).  He 
studied  with  Innocenzio  da  Imola  and  II  Bagnacavallo,  and  was  the 
assistant  of  Giulio  Romano  six  years.  His  principal  works  were 
frescoes  at  Fontainebleau,  many  of  which  are  now  destroyed.  These 
were  an  enormous  labor;  Primaticcio  made  the  designs  entirely,  and 
much  of  the  painting  was  done  by  Niccolo  dell'  Abate.  Francis  I. 
gave  Primaticcio  the  large  revenues  of  the  Abbey  S.  Martin  in 
Troyes,  Champagne.  This  artist  was  retained  in  the  service  of 
Henry  II.,  Francis  II.,  and  Charles  IX.  It  has  been  said  that  the 
taste  and  standard  in  art  was  improved  in  France  by  Primaticcio, 
Abate,  and  II  Rosso,  but  this  is  doubtful.  Their  design  and  compo- 
sition, though  brilliant,  were  not  true;  they  had  far  more  science 
than  feeling,  and  sacrificed  everything  to  freedom  and  ease  of  design. 
The  works  of  Primaticcio  are  rare  out  of  France. 

Frocaccini,  Ercole,  born  at  Bologna  (1520-1591).  A  patient 
and  careful  painter  of  no  great  power.  He  held  up  to  his  pupils  the 
best  masters,  and  stoutly  opposed  the  mannerisms  of  his  time.  He 
was  the  founder  of  the  eclectic  school  at  Milan  established  by  his 
sons.  Correggio  was  their  model. 

Frocaccini,  Camillo  (1546-1626).  A  mere  machinist  who  turned 
out  pictures  in  the  most  extraordinarily  short  time.  Some  of  his 
works  were,  however,  worthy  of  a  better  master.  "  S.  Roch  admin- 
istering to  the  Sick  of  the  Plague,"  at  Dresden,  is  one  of  his  best 
pictures. 

Procaccini,  Giulio  Cesare  (1548-1618).  The  best  painter  of  his 
family.  He  imitated  Correggio  with  success,  and  some  of  his  cabi- 
net pictures  have  been  passed  for  the  works  of  that  master.  There 
are  many  works  of  his  in  the  churches  and  galleries  of  Milan. 

Frud'hon,  Pierre,  born  at  Cluny  (1758-1823).  He  studied  in 
Rome,  where  he  became  the  friend  of  Canova.  He  returned  to  Paris 
in  1789.  He  was  not  as  fond  of  the  imitation  of  the  antique  as  was 
then  the  fashion  to  be,  and  it  was  some  time  before  his  talents  were 
recognized.  He  was  the  teacher  of  the  Empress  Maria  Louisa,  and 
a  member  of  the  Institute  of  France.  His  picture  of  ' '  Crime  pur- 
sued by  Justice  and  Vengeance,"  in  the  Louvre,  is  one  of  his  most 
admired  works.  Constance  Mayer  was  his  pupil  and  friend.  She 
committed  suicide  in  1821,  and  from  that  time  Prud'hon  was  afflicted 
with  a  fixed  melancholy. 

Fuget,  Pierre  (1622-1694).  A  follower  of  Bernini,  whose  sculp- 
tures are  seen  at  the  Louvre  and  at  Versailles. 

Puligo,  Domenico,  born  at  Florence  (1475-1527).  This  artist 
was  older  than  Andrea  del  Sarto,  and  had  studied  under  other 


PULIGO  —  QUERCIA.  471 

masters,  but  he  seems  in  the  end  to  have  attempted  to  imitate  him, 
and  so  well  succeeded  that  his  pictures  are  sometimes  mistaken  for 
those  of  that  master.  He  is  not  a  pleasing  painter,  and  shows  no 
deep  love  of  art;  he  painted  for  money,  and  was  a  sensual  man. 
He  is  said  to  have  died  of  the  plague,  contracted  in  a  low  place 
which  he  visited. 

Fulzone,  Scipione,  called  Gaetano,  born  at  Gaeta  (1550-1588  ?). 
A  portrait  painter  of  such  excellence  that  he  has  been  called  the 
"  Vandyck  of  the  Roman  school."  He  also  painted  some  historical 
pictures,  the  best  of  which  are  in  Rome. 

Pynacker,  Adam  (1621-1673).  This  painter  went  when  young 
to  Italy.  His  pictures  are  landscapes,  but  many  of  them  are  enli- 
vened with  figures  and  animals.  His  remaining  works  are  few, 
probably  because  he  spent  much  time  in  adorning  the  rooms  in 
Dutch  houses,  which  was  then  the  fashion.  Many  of  the  large 
European  galleries  have  specimens  of  his  works.  He  usually  adopted 
a  cool  tone,  for  which  reason  he  excelled  in  morning  scenes.  Smith 
estimates  the  number  of  his  pictures  at  sixty-nine. 

Q. 

Quaglio,  Dominik,  born  at  Munich  (1787-1837).  This  artist 
commenced  as  a  scene-painter,  but  afterwards  devoted  himself  to 
architectural  painting,  in  which  he  became  eminent.  His  pictures 
of  cathedrals,  and  his  architectural  views  in  South  Germany,  are 
admirable. 

Quellinus,  Arthur,  born  at  Antwerp,  1607.  Pupil  of  Duquesnoy. 
He  executed  the  sculptures  which  decorate  the  magnificent  Town 
Hall  built  in  Amsterdam  in  1648.  The  interior  figures  are  simple 
and  noble  in  style,  and  those  of  the  exterior  are  vigorous  and 
natural.  He  was  one  of  the  most  able  and  imaginative  sculptors  of 
his  time. 

Quellinus,  Erasmus,  born  at  Antwerp  (1607-1678).  An  educated 
man  and  the  friend  of  Rubens  and  Gevartius.  It  is  said  that  he  was 
at  one  time  professor  of  philosophy,  but  his  love  for  painting  induced 
him  to  vacate  his  chair.  His  pictures  were  very  unequal  in  excel- 
lence. They  are  seen  in  the  churches  of  Antwerp,  and  some  of  the 
best  are  in  the  Mus.  of  that  city. 

Quellinus,  John  Erasmus.  Son  of  preceding,  born  at  Antwerp 
(1629-1715?).  He  visited  Italy,  and  became  an  imitator  of  Paul 
Veronese.  He  used  immense  canvases.  The  "  Coronation  of  Charles 
V.  as  King  of  Rome,"  in  the  Vienna  Gall.,  and  the  "  Pool  of  Be- 
thesda,"  in  the  Antwerp  Mus.,  are  two  of  his  best  works;  the  former 
is  much  the  best. 

Quercia,  Jacopo  della  (1374-1438).  Son  of  a  goldsmith,  in 
whose  art  he  was  educated.  He  possessed  an  inventive  mind  and 


472  QUEBCIA  —  RAIMONDL 

independent  spirit,  and  when  he  devoted  himself  to  sculpture,  he 
threw  off  many  of  the  old  traditions,  and  embodied  his  own  lifelike 
conceptions  of  nature.  He  labored  in  Ferrara,  Siena,  Lucca,  and 
Bologna;  in  the  latter  city  he  made  the  sculptures  for  the  portico  of 
S.  Petronio.  They  are  in  his  best  manner,  and  among  the  most 
attractive  works  of  his  time  ;  they  were  done  in  1425.  Jacopo  was 
one  of  the  applicants  for  the  gates  of  the  Baptistery  of  Florence, 
which  were  given  to  Lorenzo  Ghiberti. 

Querfurt,  Augustus  (1696-1761).  Born  at  Wolfenbiittel.  Pupil 
of  his  father  and  of  Rugendas.  He  imitated  Wouvermans.  His 
works  may  be  seen  in  the  Vienna,  Dresden,  and  Berlin  galleries. 
He  was  the  inferior  of  Rugendas  in  composition,  but  superior  to 
him  in  impasto,  transparency  of  color,  and  carefulness  of  execution. 

R. 

Raeburn,  Sir  Henry,  born  near  Edinburgh  (1  756-1823).  A  por- 
trait painter  of  good  reputation.  Some  of  his  best  works  are  in  the 
National  Gall,  of  Scotland. 

Raibolini.     See  Francia. 

Raimbach,  Abraham,  born  in  London  (1776-1843).  An  en- 
graver whose  best  plates  are  after  the  works  of  David  Wilkie. 
They  are  well  suited  to  their  subjects,  and  are  boldly  engraved. 


Raimondi,  Marc  Antonio,  born  at  Bologna  (1487-1530).  This 
very  eminent  engraver  studied  the  art  of  niello  under  Francesco 
Francia,  and  commenced  engraving  by  copying  the  works  of  that 
painter;  he  also  copied  after  Mantegna  and  Diirer,  but  perfected  his 
drawing  under  Raphael,  who  favored  him  greatly,  and  allowed  him 
to  engrave  his  drawings.  Together,  Raphael  and  Raimondi  exerted 
great  influence  upon  the  art  of  engraving,  and  the  works  of  that 
time  have  never  been  excelled  in  drawing  and  clearness  of  outline, 
though  much  surpassed  in  gradation  of  tone  and  delicacy  of  model- 
ling. It  should  be  remembered  that  it  was  from  the  drawings,  and 
not  the  finished  pictures,  of  Raphael  that  Marc  Antonio  worked. 
He  was  especially  remarkable  for  the  exactness  with  which  he 
copied  ;  he  seems  to  have  been  willing  to  lose  himself  entirely  in  the 
master  he  reproduced.  His  life  may  be  said  to  have  been  devoted 
to  multiplying  the  works  of  Raphael.  He  also  executed  a  few  plates 
after  Michael  Angelo,  Mantegna,  Bandinelli,  and  Giulio  Romano. 
He  was  imprisoned  on  account  of  some  plates  after  the  designs  of  the 
latter,  which  were  so  indecent  as  to  enrage  Clement  VII.,  and  it  was 
with  difficulty  that  his  release  was  obtained  'by  some  of  the  cardinals 
and  Bandinelli.  In  1527  he  was  in  full  favor  in  Rome,  when  he 


RAPHAEL.  473 

was  driven  away  by  the  sacking  of  the  Spaniards.  He  was  plundered 
and  fled  to  Bologna.  His  last  work  was  done  in  1539,  and  he  is  said 
to  have  been  killed  by  a  nobleman  of  Rome  because  he  had  engraved 
a  second  plate  of  the  "  Murder  of  the  Innocents,"  contrary  to  his 
agreement.  His  works  are  numerous,  and  in  selecting  them  great 
attention  should  be  paid  to  the  different  impressions,  for  some  of  the 
plates  have  been  retouched  by  those  who  have  had  them,  until  they 
are  greatly  changed.  The  best  impressions  have  no  publisher's 
name.  Heineken  gives  a  complete  catalogue  of  his  prints. 

Ramenghi.     See  Bagnacavallo. 

Raphael  Santi,  born  at  Urbino,  on  Good  Friday,  1483.  Son  of 
Gio.  Santi,  a  good  painter,  who  executed  many  pictures  for  the 
churches  in  the  March  of  Ancona,  in  Urbino,  and  the  surrounding 
country,  and  also  wrote  a  biography  in  rhyme  of  his  patron,  the  Lord 
of  Urbino,  which  is  now  preserved  among  the  MSS.  in  the  Vatican. 
The  mother  of  Raphael  died  in  1491,  and  his  father  in  1494,  leaving 
him  with  a  step-mother,  to  whose  care,  together  with  that  of  his 
uncle,  Don  Bartolommeo  Santi,  the  boy  was  consigned.  It  cannot  be 
doubted  that  he  received  his  first  instruction  in  painting  from  his 
father,  who  took  him  to  Cagli,  between  1492  and  1494,  where  he  was 
painting  a  chapel  with  frescoes.  Luca  Signorelli  and  Timoteo  Viti 
were  his  first  teachers  in  painting,  and  the  latter  is  said  to  have 
painted  the  portrait  of  Raphael  at  twelve  years  old,  in  the  Borghese 
Gall.  It  was  probably  in  that  year  of  his  age  that  he  was  placed  in 
the  school  of  Perugino,  at  Perugia.  Rumohr  says  this  master  was 
characterized  by  "  stainless  purity  of  soul,  by  the  highest  aspirations, 
and  by  feelings  sweetjy  sad  and  enthusiastically  tender.  He  was  now 
at  the  zenith  of  his  fame  and  surrounded  by  many  distinguished  pu- 
pils." Raphael  soon  proved  himself  the  best  of  all.  His  sketch-book 
of  this  time  is  in  the  Acad.  of  Venice,  and  a  little  picture  of  the  "  In- 
fant Christ  with  S.  John,"  on  a  gold  ground,  is  preserved  at  S.  Pietro 
Maggtore  at  Perugia,  as  a  relic  of  his  pupil  days.  He  soon  began  to 
assist  Perugino  in  important  works,  and  his  hand  may  be  traced  in 
many  pictures  of  that  master.  In  1499,  a  quarrel  having  arisen  be- 
tween his  step-mother  and  guardian,  he  returned  to  Urbino  and  suc- 
ceeded in  establishing  a  family  peace  which  was  lasting.  In  1500 
he  received  his  first  independent  order,  which  consisted  of  a  banner 
for  a  procession,  and  a  "  Crucifixion,"  with  four  saints  in  adoration. 
Both  of  these  remain.  The  latter  is  in  England.  He  also  executed 
other  works  before  he  returned  to  Perugia.  In  this  latter  city  he 
now  began  to  work  entirely  in  the  style  of  Perugino.  To  these  days 
belong  si  Madonna,  and  the  "  Adoration  of  the  Magi,"  in  the  Berlin 
Mus.;  a  "  Sleeping  Knight,"  in  the  National  Gall.;  the  "  Adoration 
of  the  Kings,"  at  Copenhagen  ;  and  about  twenty  other  small  paint- 
ings. In  1504  he  went  to  Cittk  di  Castello,  where  he  painted  the 
Sposalizio,  now  the  ornament  of  the  Brera.  In  the  same  year  he  re- 


474  RAPHAEL. 

turned  to  Urbino  and  painted,  for  the  Duke  Guidobaldo,  "  Christ  on 
the  Mount  of  Olives,"  now  in  England;  and  "  S.  George  and  the 
Dragon,"  and  "  S.  Michael  overcoming  the  Monster,"  in  the  Louvre. 
About  this  time  Raphael  assisted  Pinturicchio  by  making  cartoons  for 
his  paintings  in  the  Library  of  the  Cath.  at  Siena.  The  fame  of  the  / 
cartoons  of  Michael  Angelo  and  Leonardo  da  Vinci  reached  his  ears 
and  drew  him  irresistibly  to  Florence.  Here  a  new  world  was  open 
to  him,  and  he  studied  not  only  the  works  of  Leonardo  and  Michael 
Angelo,  but  also  those  of  Masaccio.  We  now  find  ourselves  at  the 
commencement  of  Raphael's  second  period,  in  which  he  attempted  to 
throw  aside  the  influence  of  Perugino.  This  master  was  absorbed 
in  reflecting  upon  the  glories  of  the  next  world,  and  in  his  works 
attempted  to  represent  the  perfectness  of  fervent  feeling.  Raphael 
now  attempted  to  represent  human  life  in  its  variety,  and  character 
in  its  individuality.  To  this  time  in  Florence  we  may  attribute  the 
"  Madonna  del  Granduca  "  now  in  the  Pitti  Gall. ;  the  Madonna  sur- 
rounded by  three  Children,  in  the  Berlin  Mus. ;  and  a  portrait  of  a 
youth  of  eighteen  or  twenty,  one  of  the  ancestors  of  King  Louis  of 
Bavaria.  In  1505  Raphael  was  compelled  to  return  to  Perugia  to 
execute  the  commissions  which  he  had  there,  one  of  which  was  the 
altar-piece  now  at  Blenheim.  In  these  days  at  Florence  many  dis- 
tinguished artists,  young  and  old,  were  accustomed  to  assemble  in  the 
evening  in  the  studio  of  Baccio  d'Agnolo.  There  many  things  re- 
lating to  art  were  discussed.  For  these  meetings  and  all  the  advan- 
tages of  Florence  he  pined.  Perugia  seemed  so  small  and  narrow, 
that  he  soon  left  it  again.  At  the  house  of  Agnolo  he  expressed  him- 
self freely,  and  he  made  many  friends  there,  among  citizens  as  well 
as  artists.  He  received  commissions  from  them,  and  to  this  time  be- 
long the  "  Madonna  del  Cardellino  "  or  Goldfinch,  in  the  Uffizi;  the 
Holy  Family  with  the  Fan  Palm,  and  the  portraits  in  the  Pitti  Pal. 
of  Angelo  Doni  and  his  wife.  From  Florence  he  went  to  Bologna  to 
make  the  acquaintance  of  Francesco  Francia,  and  to  execute  a  com- 
mission for  the  governor  of  that  city.  At  this  time  Duke  Guidobaldo 
had  gathered  about  him,  at  Urbino,  a  circle  of  the  most  brilliant  and 
intellectual  people  of  Italy.  Thither  Raphael  now  went,  and  made 
friends  there,  most  of  whom  were  true  to  him  while  he  lived. 
Among  them  were  Pietro  Bembo,  Andrea  Doria,  Giuliano  dei 
Medici,  Bernardo  da  Bibbiena,  and  Count  Castiglione.  He  painted 
for  the  Duke  "  S.  George,  on  Horseback,  killing  the  Dragon,"  now 
at  St.  Petersburg;  the  portraits  of  the  Duke  and  his  wife,  also,  and 
other  pictures.  In  1507  he  completed,  at  Perugia,  the  "  Entombment 
of  Christ,"  now  in  the  Borghese  Pal.  at  Rome.  In  this  picture  may 
be  seen  distinctly  the  influence  of  the  study  he  had  made  of  Michael 
Angelo,  Leonardo,  and  other  artists.  The  Christ,  in  truth,  might 
almost  have  been  painted  by  Michael  Angelo  himself.  Again  he  went 
to  Florence,  and  soon  after  painted  the  "  S.  Catherine  of  Alexandria," 


RAPHAEL.  475 

now  in  the  National  Gall. ;  also  the  Madonna  of  the  Tempi  family, 
now  at  Munich,  for  which  Louis  of  Bavaria  paid  16,000  scudi. 
Several  other  pictures  soon  followed,  among  which  are  "  La  Vierge 
au  Linge,"  at  Paris  ;  "  La  Belle_  Jardiniere,"  in  the  Louvre;  and  the 
Madonna  with  two  Children,  in  the  Esterhazy  Gall.  He  became  ac- 
quainted at  this  time  with  Fra  Bartolommeo.  He  was  strongly 
attracted  by  him,  and  studied  much  with  him.  He  learned  to  ar- 
range his  drapery  better,  to  lay  color  more  broadly,  and  to  use  car- 
mine with  skill.  He  had  commenced  the  "Madonna  delJBaldac- 
chino,"  now  in  the  Pitti  Pal.,  when  he  was  summoned  by  the  Pope 
to  Rome.  This  was  in  1508.  Goethe  says,  in  speaking  of  Raphael 
at  this  time,  "  Preceding  masters  had  only  conducted  youth  to  the 
threshold;  he  alone  needed  to  but  raise  his  foot  to  enter  within  the 
temple."  At  Florence  he  was  the  greatest  painter  of  his  time.  He 
needed  only  the  patronage  of  s,uch  a  man  as  Juh'us  to  become  the  ar- 
tist that  he  afterwards  was.  Julius  desired  that  the  Vatican  should 
be  a  kind  of  city,  and  every  branch  of  art  was  put  in  requisition  for 
its  adornment.  In  the  state  apartments  Raphael  executed  the 
"Parnassus,"  the  "  Disputa  del  S.  Sacramento,"  the  "  School  of 
Athens,"  and  fifteen  small  pictures  representing  foetry,  Philosophy, 
Theology,  etc.,  which  obtained  for  him  the  title  of  "  the  philosophical 
painter."  These  wonderful  works  are  too  well  known,  and  have 
been  too  often  described,  for  a  word  to  be  added.  No  one  can  see 
them  and  consider  the  age  of  the  artist,  who  in  these  for  the  first 
time  attempted  large  pictures,  without  wonder  and  admiration.  Many 
stories  have  been  told  of  the  disagreement  between  Raphael  and 
Michael  Angelo,  but  we  cannot  doubt  that  they  must  have  honored 
and  appreciated  each  other,  although  they  may  have  appeared  like 
enemies.  Certain  it  is  that  Raphael  was  full  of  what  Vasari  calls 
"  the  might  of  his  noble  nature."  He  made  friends  everywhere,  and 
at  his  appearance,  even  among  painters,  ill-humor  was  banished. 
Vasari  also  said,  "  Nature,  having  been  conquered  by  art  through  the 
hand  of  Michael  Angelo,  was  in  Raphael  conquered  by  art  and  man- 
ners together."  The  influence  of  such  a  man  is  well  known.  Even 
the  Pope  and  the  most  noble  men  in  Rome  sought  his  friendship. 
He  lived,  as  no  artist  had  lived  before,  in  the  luxury  of  wealth,  and 
Michael  Angelo  alone  avoided  him.  The  never-ending  dispute  re- 
ganling  the  merits  of  these  two  men  is  well  disposed  of  by  Goethe. 
He  says,  "  Such  disputes  have  not  perplexed  me,  because  I  have 
always  let  them  alone,  and  occupied  myself  with  more  immediate 
examination  of  all  that  is  valuable  and  estimable."  Not  long  after 
Raphael  went  to  Rome,  there  is  reason  to  believe  that  he  formed  an 
attachment  which  endured  through  life.  A  small  house,  No.  20  Con- 
trada  Santa  Dorotea,  is  shown  as  the  birthplace  of  his  beloved  one, 
said  to  have  been  the  daughter  of  a  turf-burner.  Passavant  says 
that  she  was  called  Margarita.  We  know  not  why,  she  is  gen- 


476  RAPHAEL. 

erally  called  the  Fornarina.  It  is  pleasant  to  believe  her  to  have 
been  the  same  maiden  who  was  in  his  house  at  the  time  of  his  death, 
and  for  whom  he  provided  in  his  will.  We  can  be  certain  of  nothing 
regarding  this  story,  but  we  do  know  that  the  same  female  figure  ap- 
pears in  many  of  his  pictures,  and  may  reasonably  be  thought  the 
portrait  of  one  he  loved,  if  not  of  her  whom  we  call  the  Fornarina. 
Her  picture  is  in  the  Barbarini  Pal.  at  Rome.  It  represents  her  sit- 
ting in  a  grove,  partly  dressed,  as  if  just  coming  from  her  bath;  her 
right  hand  presses  a  transparent  garment  to  her  bosom ;  her  left  hand 
rests  on  her  lap,  and  on  the  arm  is  a  gold  bracelet  with  the  name  of 
Raphael  inscribed  upon  it.  Can  it  be  that  by  this  he  indicated  that 
the  beautiful  girl  was  all  his  own  ?  It  is  said  that  at  one  time  she 
drew  him  so  completely  away  from  his  work  that  his  friend  Chigi  at 
last  devised  the  plan  of  bringing  her  to  his  scaffold,  where  she  sat  the 
whole  day  by  his  side.  On  the  back  of  some  of  his  sketches  for  the 
painting  of  the  "  Dispute,"  which  are  still  preserved,  four  sonnets 
are  written.  Three  of  these  are  at  Oxford.  They  are  full  of  ardent 
affection,  but  the  last  one  ends  with  the  expression  of  the  desire  to 
regain  his  peace  and  resume  his  labors.  He  was  never  married, 
although  he  did  no^refuse  the  hand  of  Maria  di  Bibbiena,  who  was 
proposed  to  him.  The  marriage  was  constantly  postponed,  as  some 
say  because  he  hoped  to  become  a  cardinal,  while  others  maintain 
that  the  maiden  died,  which  is  not  positively  known.  According  to 
his  will  her  remains  were  to  be  placed  beside  his  own  as  his  betrothed, 
and  the  inscription  proves  that  this  was  done.  To  the  year  1511  be- 
longs the  "  Madonna  di  Foligno ;  "  to  1512  the  "  Prophet  Isaiah," 
on  a  pillar  in  the  ch.  of  S.  Augustine  ;  and  many  other  smaller  works 
were  done  while  he  proceeded  wi'li  the  decoration  of  the  second  hall 
in  the  Vatican.  This  hall  is  called  La  Stanza  d'Eliodoro.  The  pic- 
tures in  it  are  intended  to  illustrate  the  divine  protection  of  the 
church.  The  subjects  are  the  "  Expulsion  of  HeUodorus  from  the 
Temple,"  the  '-Miracle  of  Bolsena,"  the  "March  of  Attila,"  the 
"  Deliverance  of  Peter  from  Prison,"  "  God  appearing  to  Noah," 
"  Abraham's  Sacrifice,"  "  Jacob's  Dream,"  and  "  Moses  at  the  Burn- 
ing Bush;  "  also  various  small  allegorical  figures,  Hermae,  Caryatides, 
which  serve  as  socle  pictures  under  the  frescoes.  He  also  executed 
pictures  in  the  window  recesses,  which  are  defaced  or  have  been  now 
repainted.  For  his  work  here  Raphael  received  £335.  Only  the 
first  two  of  these  pictures  were  finished  during  the  life  of  Julius  II. 
The  "  Mass  of  Bolsena  "  is,  without  doubt,  the  most  celebrated  of 
these  works.  It  is  a  representation  of  the  legend  that  a  priest  who 
had  doubted  the  miracle  of  transubstantiation  was  brought  back  to 
the  faith  by  the  flowing  of  blood  from  the  host,  while  he  himself  was 
celebrating  the  mass  at  Bolsena.  These  pictures  might  also  be  con- 
sidered as  having  a  secular  as  well  as  religions  meaning,  for  the  Pope 
in  the  picture  of  the  "  March  of  Attila  "  was  a  likeness  of  Leo.  X, 


RAPHAEL.  477 

who  in  1513  had  succeeded  in  expelling  the  French  from  Italy.  The 
socle  pictures,  too,  representing  Protection,  Peace,  Commerce,  Plenty, 
etc.,  conveyed  a  delicate  compliment  to  the  rule  of  Leo  X.  To 
Julius  II.  the  praise  may  be  given  of  having  developed  the  genius  of 
both  Michael  Angelo  and  Raphael,  by  giving  them  the  opportunity 
of  executing  such  extensive  works  as  they  alone  were  able  to  do. 
And  yet  much  of  the  glory  has  been  given  to  Leo  X. ,  in  whose  reign 
the  plans  of  Julius  were  perfected.  Raphael  painted  more  and 
greater  works  in  five  years  for  Julius  II.,  than  he  did  in  seven  years 
for  Leo.  In  1815-16  Raphael  was  employed  upon  the  colored  car- 
toons for  ten  tapestries  representing  events  in  the  history  of  the 
Apostles,  to  be  executed  at  Arras.  These  were  intended  for  the 
lower  hall  of  the  Sistine  chapel ;  but  seven  of  them  remain,  and  are 
in  the  Mus.  at  South  Kensington.  The  year  before  his  death  Francis 
I.  ordered  of  Raphael  the  cartoons  for  twelve  other  tapestries  which 
were  completed  by  Giulio  Romano  and  others.  From  1514  until  the 
time  of  his  death  the  principal  paintings  of  Raphael  were  the  follow- 
ing:  The  remainder  of  his  paintings  in  the  Vatican,  not  before 
mentioned;  the  Gate  leading  from  the  Stanza  della  Segnatura  to  the 
Stanza  di  Torre  Borgia;  portraits  of  many  eminent  persons,  among 
which  were  several  members  of  the  Medicean  family;  a  portrait  of  a 
violin  player,  1518,  in  the  Pal.  Sciarra  Colonna  is  most  attractive, 
and  represents  a  favorite  companion  of  the  Pope  ;  the  Prophets  and 
Sibyls,  in  a  Chapel  of  S.  Maria  della  Pace;  "  Galatea,"  now  in  the 
Villa  Farnesina;  "  S.  Cecilia,"  now  at  Bologna;  "  Vision  of  Eze- 
kiel,"  Pitti  Pal.;  "  Marriage  of  Alexander  with  Roxana,"  Borghese 
Gall.;  u  Lo  Spasimo  di  Sicilia;  "  the  Sistine  Madonna;  the  "  Trans- 
figuration of  Christ;  "  and  a  large  variety  of  Holy  Families,  Madon- 
nas, and  various  other  religious  subjects,  many  of  which  are  known 
by  names  derived  from  their  distinguishing  traits,  such  as  "  The  Ma- 
donna with  the  Candelabra,"  "The  Perla,"  "La  Sacra  Famiglia 
della  Lacerta,"  etc.  The  more  important  of  these  pictures  are  well 
known  by  fine  engravings,  especially  those  of  Marc  Anton,  for  some 
of  which,  according  to  tradition,  Raphael  assisted  with  graver  and 
file  in  the  preparation  of  the  plates.  The  "  Lo  Spasimo  "  was  painted 
for  a  church  in  Palermo.  The  ship  which  was  carrying  it  was 
wrecked,  and  all  on  board  perished.  The  case  containing  this  pic- 
ture alone  floated  into  the  port  of  Genoa,  and  was  recovered  before 
the  water  had  penetrated  it.  There  was  great  joy  in  the  whole  city, 
and  when  the  monks  of  Palermo  claimed  their  treasure,  the  Genoese 
would  not  give  it  up  until  the  Pope  commanded  them  to  do  so.  It  is 
now  in  the  Mus.  of  Madrid.  The  Sistine  Madonna,  so  called  from  the 
representation  of  S.  Sixtus  with  S.  Barbara  in  the  lower  part  of  the 
picture,  it  is  said  was  originally  painted  for  the  monks  in  Piacenza, 
to  be  used  for  a  drappellone,  that  is,  a  procession  standard,  but  it  was 
the  chief  altar-piece  in  the  church  until,  in  1753,  it  was  purchased  for 


478  RAPHAEL. 

the  Dresden  Gall,  for  40,000  Roman  scudi.  It  is  almost  universally 
acknowledged  that  in  this  work  the  wonderful  genius  of  Raphael  is 
most  directly  exhibited.  It  is  full  of  spirituality,  and  marvellous  in 
its  sublimity,  and  yet  a  more  simple  arrangement  could  scarcely  be 
conceived.  It  is  pyramidal  in  form,  and  while  perfect  in  symmetrical 
grace,  corresponds  exactly  to  the  mathematical  division  known  by  the 
ancients  as  the  sectio  aurea.  This  picture  was  painted  entirely  by 
Raphael,  which  was  a  rare  occurrence  in  the  latter  years  of  his  life. 
His  last  work,  the  "  Transfiguration  of  Christ,"  was  unfinished  at 
the  time  of  his  death.  The  figure  of  the  Saviour,  the  demoniac  boy, 
the  father,  the  figure  of  S.  Andrew,  and  the  kneeling  female  in  the 
foreground,  are  the  only  portions  of  this  work  in  which  the  brush  of 
Raphael  can  be  recognized  with  certainty.  Raphael  died  on  Good 
Friday,  which  was  also  his  birthday,  1520.  All  Rome  was  filled 
with  sorrow  for  his  death,  and  crowds  surrounded  his  house,  where 
the  body  was  laid  out  on  a  catafalque,  encircled  with  torches,  while 
the  "  Transfiguration  "  stood  behind  it.  The  ceremonies  at  his  burial 
were  magnificent.  He  was  buried,  as  he  himself  had  chosen,  in  the 
Pantheon  of  Agrippa.  He  had  also  arranged  that  a  statue  of  the 
Virgin  should  be  executed  by  Lorenzetto  and  placed  over  his  sepul- 
chre. The  epitaph,  written  by  Bembo,  concludes  with  these  words  : 
"  This  is  that  Raphael  by  whom  nature  feared  to  be  conquered  while 
he  lived,  and  to  die  when  he  died."  By  his  will  he  gave  all  his  works 
of  art  to  Giulio  Romano  and  Francesco  Penni.  He  provided  gen- 
erously for  the  Fornarina.  His  house  in  Rome  was  given  to  Bib- 
biena.  He  ordered  that  a  house  should  be  purchased  with  1000 
scudi,  the  revenue  of  which  should  pay  for  twelve  masses  to  be  said 
monthly  on  the  altar  of  his  burial  chapel.  These  have  been  discon- 
tinued since  1705,  on  account  of  the  insufficiency  of  the  rent  of  the 
house.  The  rest  of  his  property  was  inherited  by  his  relatives. 
Three  hundred  and  thirteen  years  after  the  death  of  Raphael,  Pope 
Gregory  XVI.  permitted  his  grave  to  be  opened.  His  body  was 
found  in  a  tolerable  state  of  preservation,  and  entire.  A  second 
funeral  ceremony  was  celebrated,  which  was  attended  by  eminent 
artists  and  men  of  rank,  who  moved  about  the  church  in  a  procession, 
bearing  torches,  while  beautiful  music  was  chanted  by  an  invisible 
choir,  and  his  body  was  again  consigned  to  its  resting-place. 

ENGRAVINGS  AFTER  THE  WORKS  OF  RAPHAEL. 

Engraver,  ALBERTI,  Cherubino.  The  Presentation.  The  Resur- 
rection. The  Holy  Family;  1582.  Jupiter  and  Ganymede;  1580. 
The  Graces  and  Venus  leaving  Juno  and  Ceres. 

Engraver,  ALIX,  John.     The  Holy  Family. 

Engraver,  ANDERLONI,  Pietro.  The  Holy  Family.  The  Incendio 
di  Borgo.  The  Heliodorus.  The  Flight  of  Attila. 

Engraver,  AUDOUIN,  Pierre.     La  Belle  Jardiniere. 


RAPHAEL.  479 

Engraver,  AUDRAN,  Gerard.  Thirteen  Hieroglyphical  Figures, 
in  the  Vatican.  Fifteen  plates  called  Emblems  —  or  Cupid  and 
Psyche,  in  a  Loggia  in  the  Farnese  Garden.  Moses  in  the  Burning 
Bush.  S.  Paul  and  Barnabas  at  Lystra.  The  Death  of  Ananias. 
The  Descent  of  the  Saracens  in  the  Port  of  Ostia. 

Engraver,  AUDRAN,  John.     Our  Saviour  in  the  Bark,  preaching. 

Engraver,  BADALOCCHIO,  Sisto.  Fifty-one  plates  after  Biblical 
subjects,  painted  in  the  Vatican. 

Engraver,  BAILLU.     Heliodorus  driven  from  the  Temple. 

Engraver,  BARTOLI,  Pietro  Sante.  Three  sets  of  friezes,  forty- 
two  plates  in  all.  A  set  of  ornaments  in  figures,  forty-three  plates, 
inscribed,  Parerga  atque  ornamenta  in  Vaticani,  etc.  The  Adoration 
of  the  Magi. 

Engraver,  BEATRICI,  Niccolo.  Joseph  explaining  the  Dream, 
marked  with  cipher  and  his  name ;  one  of  his  best  plates.  Christ  de- 
livering the  Souls  from  Purgatory,  with  the  names  of  Raphael  and 
Beatrici.  The  Ascension,  with  cipher;  1541.  S.  Michael  over- 
coming the  Evil  Spirit;  marked  -N.  B.  L.  The  Temple  of  Fortune; 
marked  with  cipher. 

Engraver,  BEHAM,  Bartel.  Apollo  causing  Marsyas  to  be  flayed; 
marked  with  a  B.  on  a  die.  Christ  giving  his  Charge  to  S.  Peter; 
same  mark. 

Engraver,  BERGER,  Daniel.     The  Virgin  "Mary. 

Engraver,  BLOEMAERT,  Cornelius.  S.  Luke  painting  the  Virgin 
and  Infant.  The  Adoration  of  the  Shepherds. 

Engraver,  BLOOTELING,  Abraham.    The  Marriage  of  S.  Catherine. 

Engraver,  BONASONI,  Giulio.  Noah  coming  out  of  the  Ark. 
Joseph  sold  by  his  Brethren.  The  Cup  found  in  Benjamin's  Sack; 
with  the  names  of  Raffaelle  and  Bonasone.  Christ  meeting  S.  Peter. 
S.  Cecilia.  The  Rape  of  Europa.  Venus,  attended  by  the  Graces. 

Engraver,  BORCHT,  Henry  van  der.  The  Dead  Christ,  supported 
by  Joseph  of  Arimathea,  from  a  drawing  by  Parmigiano,  after 
Raffaelle;  1645. 

Engraver,  BOULANGER,  John.  The  Virgin  of  the  Pinks.  A 
Bust  of  the  Virgin,  inscribed,  Mater  amdbilis. 

Engraver,  BREBIETTE,  Peter.     The  Holy  Family,  with  S.  John. 

Engraver,  BRUYN  or  BRUIN,  Nicholas  de.     S.  Cecilia. 

Engraver,  Bos  or  VANDEN  BOSCH,  Cornelius.  Moses  breaking 
the  Tables  of  the  Law;  1550.  Moses  Presenting  the  Law  to  the 
People;  1551. 

Engraver,  CARRACCI,  Agostino.     The  Holy  Family,  with  S.  John. 

Engraver,  CARAGLIO  or  CARALIUS,  Gio.  Giacomo.  Holy  Family. 
Another  Holy  Family,  with  S.  Elizabeth. 

Engraver,  CARPI,  Ugo  da.  Jacob's  Ladder.  David  with  the 
Head  of  Goliath.  The  Murder  of  the  Innocents.  Christ  preaching 
on  the  Steps  of  the  Temple.  Elymas  struck  with  Blindness.  Tho 


480  RAPHAEL. 

Death  of  Ananias.  The  Descent  from  the  Cross.  The  Dead  Christ 
in  the  Lap  of  the  Virgin.  S.  John  in  the  Wilderness.  ^Eneas 
carrying  Anchises.  A  Sibyl  reading,  with  a  Child  holding  a  Torch. 
Hercules  strangling  Antaeus.  Raffaelle  and  his  Mistress. 

Engraver,  CAVALLERIIS,  Gio.  Battista.  The  Animals  comino-  out 
of  the  Ark.  Moses  showing  the  Tables  of  the  Law.  The  Miracle 
of  the  Loaves.  Christ  appearing  to  S.  Peter.  Battle  of  Constan- 
tine  and  Maxentius.  The  Murder  of  the  Innocents. 

Engraver,  CHAMBERS,  Thomas.     Raffaelle's  Mistress. 

Engraver,  CHATEAU  or  CHASTEAU,  William.  The  Miraculous 
Draught  of  Fishes. 

Engraver,  CHEREAU,  Jacques.  The  Holy  Family.  La  Belle 
Jardiniere.  The  Transfiguration. 

Engraver,  COCHIN,  Charles  Nicholas,  the  Elder.  Alexander  and 
Roxana;  after  a  drawing  by  Raphael,  in  the  Crozat  Coll. 

Engraver,  COLIGNON,  Francis.     The  Flight  of  Attila. 

Engraver,  CORNEILLE,  Michel,  the  Elder.  The  Holy  Family,  with 
S.  Elizabeth.  The  Murder  of  the  Innocents.  Christ  appearing  to 
Magdalene. 

Engraver,  CORT,  Cornelius.  The  Transfiguration.  The  Battle 
of  the  Elephants.  The  Battle  of  Constantino  and  Maxentius. 

Engraver,  COSSIN,  Louis.     The  School  of  Athens;  large  plate. 

Engraver,  COUVAY,  John.  The  Virgin  and  Infant;  Dilectus  meus, 
etc.  S.  John  in  the  Desert. 

Engraver,  CUNEGO,  Domenico.  La  Fornarina.  Galatea;  from 
the  Barberini  Pal.  The  Entombing  of  Christ. 

Engraver,  DORIGNY,  Sir  Nicholas.  Nine  plates  of  the  seven 
planets,  and  the  creation  of  the  sun  and  moon;  after  the  paintings 
in  the  Chigi  Chapel  in  La  Madonna  del  Popolo.  The  Cartoons  in 
eight  plates,  including  the  title.  Twelve  of  the  history  of  Cupid  and 
Psyche,  and  the  Triumph  of  Galatea,  including  the  title;  after  the 
paintings  in  the  little  Farnesian  Gall.  The  Transfiguration. 

Engraver,  DUFLOS,  Claude.  The  Entombing  of  Christ.  S. 
Michael  discomforting  the  Evil  Spirit;  for  the  Crozat  Coll. 

Engraver,  EDELINCK,  Gerard.  The  Holy  Family,  with  S.  John, 
S.  Elizabeth,  and  two  angels ;  after  the  picture  by  Raphael  which  is 
in  the  Coll.  of  the  King  of  France;  very  fine.  The  first  impressions 
are  before  the  arms  of  Colbert,  the  second  are  with  the  arms,  and  in 
the  third  the  arms  have  been  effaced,  but  the  frame  in  which  they 
were  inserted  remains. 

Engraver,  EDELINCK,  Nicholas.  Portrait  of  Card.  Julius  de' 
Medici.  Portrait  of  Count  Balthasar  Castiglione. 

Engraver,  EREDI,  Benedetto.     The  Transfiguration. 

Engraver,  FIDANZA,  Paolo.  Mount  Parnassus.  The  Mass  of 
Bolsena. 

Engraver,  FLIPART,  Jean  Charles.  The  Virgin  and  Infant;  for 
the  Crozat  Coll.  Christ  on  the  Mount  of  Olives;  for  the  Crozat  Coll. 


RAPHAEL.  481 

Engraver,  FRANCO,  Batista,  called  II  Semelei.  The  Donation 
made  to  the  Church  by  the  Emperor  Constantine. 

Engraver,  GALLE,  Cornelius,  the  Elder.  The  Virgin  caressing 
the  Child.  The  Entombment  of  Christ. 

Engraver,  GAULTIER,  Leonard.  Thirty-two  plates  of  the  history 
of  Cupid  and  Psyche. 

Engraver,  GHISI,  Giorgio.  Portrait  of  Julius  II.  The  Holy 
Family;  half-length.  School  of  Athens;  two  sheets.  The  Dispute 
of  the  Sacrament.  An  emblematical  subject,  sometimes  called 
"  Raphael's  Dream,"  and  sometimes  "  The  Melancholy  of  Michael 
Angelo;"  1561. 

Engraver,  GHISI,  Diana.  The  Holy  Family,  with  S.  John  pre- 
senting a  billet. 

Engraver,  GREGORI,  Carlo.     The  Maries  at  the  Sepulchre. 

Engraver,  GRIBELIN,  Simon.     The  Cartoon;  seven  small  plates. 

Engraver,  JACOBONI,  Gio.  Batista.     The  Holy  Family. 

Engraver,  KIRKALL,  Edward.  The  Cartoons  of  Raphael,  in  eight 
plates.  The  Bust  of  the  Saviour. 

Engraver,  LANFRANCO,  Cavaliere  Gio.  A  part  of  the  plates  en- 
graved conjointly  with  Sisto  Badalocchio,  from  the  paintings  in  the 
Vatican  called  "  Raphael's  Bible;  "  fifty-one  prints  besides  the  titles. 

Engraver,  LANGLOIS,  John.     S.  Luke  painting  the  Virgin. 

Engraver,  LARMESSIN,  Nicholas  de,  the  Younger.  Portraits  for 
the  Crozat  Coll. :  Raphael  and  Jacopo  Pontormo  (half-lengths) ; 
Federigo  Carondeletto;  Cardinal  Pole.  Subjects  for  the  Crozat 
Coll. :  S.  Michael  vanquishing  the  Evil  Spirit;  S.  George  and  the 
Dragon;  S.  John  the  Evangelist;  The  Holy  Family;  Madonna  and 
Child;  Vision  of  Ezekiel;  Christ  Bearing  his  Cross. 

Engraver,  LOMBARD  or  LOMBART,  Peter.  S.  Michael  subduing 
the  Demon. 

Engraver,  MANNL  or  MAENNL,  Jacob.  S.  Margaret  treading  on 
the  Dragon. 

Engraver,  MARATTI,  Carlo.  Heliodorus  driven  from  the  Temple; 
in  two  sheets. 

Engraver,  MATHAM,  James.  The  Holy  Family,  with  S.  Ann. 
Mount  Parnassus,  with  Apollo  and  the  Muses. 

Engraver,  MAZZUOLI,  Francesco,  called  II  Parmigiano.  S.  Peter 
and  S.  Paul  healing  the  Lame  Man ;  fine. 

Engraver,  MORGHEN,  Raphael.  The  Mass  of  Bolsena.  The 
Transfiguration.  The  Madonna  della  Seggiola. 

Engraver,  MORIN,  John.  The  Virgin  with  the  Child  on  her  knee, 
holding  a  bouquet  of  flowers,  inscribed,  Dilectus  meus  mihi. 

Engraver,  MORO,  Gio.  Batista  d'AngelL  The  Holy  Family,  with 
S.  Elizabeth  and  S.  John.  Another  Holy  Family. 

Engraver,  Musis,  Agostino  de,  called  Agostino  Veneziano.  The 
Creation,  engraved  in  conjunction  with  Marco  da  Ravenna.  The 
31 


482  RAPHAEL. 

Sacrifice  of  Isaac.  The  Benediction  of  Isaac,  dated  1522;  very 
scarce.  Same  subject  dated  1524.  The  Israelites  passing  the  Dead 
Sea.  The  Israelites  gathering  the  Manna.  The  Archangel 
Michael.  S.  Jerome  with  the  Lion.  Tarquin  and  Lucretia.  The 
Death  of  Lucretia.  Vulcan  giving  Cupid's  arrows  to  Venus;  1530. 
Venus  riding  on  a  Dolphin,  with  Cupid  holding  a  Torch.  Apollo 
and  Daphne.  The  Triumph  of  Silenus,  marked  AV,  on  a  tablet. 
Hercules  destroying  the  Nemean  Lion. 

Engraver,  NATALIS,  Michael.     Holy  Family. 

Engraver,  OTTAVIANI,  Gio.  Four  plates  from  the  pictures  in  La 
Farnesina.  Jupiter  and  Ganymede.  Juno  on  her  Car.  Neptune 
on  the  Ocean.  Pluto  and  Proserpine. 

Engraver,  PAVON,  Ignatius.  La  Madonna  del  Trono.  La  Ma- 
donna di  Foligno.  La  Vierge  au  Papillon.  La  Vierge  au  L'Oiseau. 
The  Transfiguration. 

Engraver,  PAZZI,  Pietro  Antonio.    The  Assumption  of  the  Virgin. 

Engraver,  PEIROLERI,  Pietro.     Portrait  of  the  Fornarina. 

Engraver,  PERAC,  Stephen.     The  Judgment  of  Paris. 

Engraver,  PERRIER,  Francis.  Ten  plates  of  the  angels  in  the 
Farnesina.  Two  plates  of  the  Assembly  of  the  Gods,  and  the  Mar- 
riage of  Cupid  and  Psyche;  from  paintings  in  the  Farnesina. 

Engraver,  PESNE,  John.     Holy  Family. 

Engraver,  PICCIONI,  Matteo.  *S.  Luke  painting  the  Virgin. 

Engraver,  PITAU,  Nicholas.  Holy  Family,  with  S.  Elizabeth  and 
S.  John;  very  fine. 

Engraver,  POILLY,  Francis,  the  Elder.  The  Vision  of  Ezekiel. 
The  Holy  Family,  with  Christ  standing  upon  a  Cradle.  The  Virgin 
lifting  up  a  Veil  to  show  the  Sleeping  Christ  to  S.  John. 

Engraver,  PREISLER,  John  Martin.     The  Madonna  della  Seggia. 

Engraver,    PRESTEL,  John  Gotleib.     The  Descent  from  the  Cross. 

Engraver,  RAIMONDI,  Marc  Antonio.  Adam  and  Eve.  Noah 
sacrificing  after  leaving  the  Ark.  God  appearing  to  Noah.  God 
appearing  to  Isaac.  Joseph  and  Potiphars  Wife.  David  cutting 
off  the  Head  of  Goliath.  David  taking  up  the  Head  of  Goliath; 
very  scarce.  The  Murder  of  the  Innocents.  The  Holy  Family; 
usually  called  "The  Virgin  with  the  Long  Thigh."  The  Virgin 
seated,  with  a  palm-tree  in  the  background;  called  "  The  Virgin  of 
the  Palm."  The  Virgin  seated  near  a  cradle,  presenting  the  Child 
to  S.  Anne;  called  "The  Virgin  of  the  Cradle."  The  Virgin 
seated  on  a  Chair,  embracing  the  Infant.  The  Virgin  holding  the 
Infant,  and  reading.  The  Virgin  and  Child;  to  whom  Tobit,  ac- 
companied by  an  Angel,  is  presenting  a  Fish.  The  Virgin  in  the 
Clouds,  holding  the  Infant  Jesus.  Christ  seated  between  two  Col- 
umns, upon  the  Steps,  with  the  Virgin  and  Mary  Magdalene; 
called  "  The  Virgin  with  the  Steps."  Mary  Magdalene  at  the  Feet 
of  Christ  in  the  House  of  Simon  the  Pharisee.  The  Last  Supper; 


RAPHAEL.  483 

called  "  La  Piece  des  Pieds."  The  Taking  down  from  the  Cross. 
The  dead  Christ  laid  on  the  Sepulchre,  with  the  Virgin  with  her 
arms  extended.  The  same  composition,  in  which  the  Virgin  appears 
younger,  and  has  one  of  her  arms  naked;  called  "  The  Virgin  with 
the  Naked  Arm."  The  Dead  Christ  with  his  Head  on  the  Knees  of  the 
Virgin,  with  the  Holy  Women,  two  of  the  Disciples,  and  Nicodemus. 
Christ  with  a  Glory,  between  the  Virgin  and  S.  John,  and,  below,  S. 
Paul  and  S.  Catherine;  called  "  The  Five  Saints."  The  Death  of 
Ananias.  Eiymas  struck  blind.  S.  Paul  preaching  at  Athens.  S. 
Cecilia  with  Mary  Magdalene,  S.  Paul,  and  two  other  Saints  ;  there 
is  a  shadow  on  the  neck  of  S.  Cecilia,  from  which  it  is  called  "  The 
S.  Cecilia  with  the  Necklace."  The  Martyrdom  of  S.  Felicita.  A 
set  of  thirteen  plates  of  Christ  and  the  Apostles.  The  Books  of  the 
Sibyls  put  into  the  Tomb  of  Numa  Pompilius.  The  Rape  of  Helen. 
-flSneas  saving  Anchises  from  the  Burning  of  Troy.  Venus  appearing 
to  ./Eneas  in  the  form  of  a  Huntress.  The  Death  of  Dido.  The 
Death  of  Lucretia.  The  Battle  of  the  Sabre.  Three  of  the  Angels 
of  the  Farnesina;  representing  Venus  caressing  Cupid,  Cupid  and 
the  Graces,  and  Mercury  descending  from  Olympus.  The  Judgment 
of  Paris.  Vulcan,  Venus,  and  Cupid.  The  Triumph  of  Galatea. 
Mount  Parnassus.  The  two  Sibyls.  The  Pest;  called  "II  Mor- 
betto." 

Engraver,  RAVENNA,  Marco  da.  A  set  of  twelve  plates  of 
Biblical  subjects  from  paintings  in  the  Vatican.  The  Transfigu- 
ration. The  Last  Supper.  The  Holy  Family;  called  "  The  Vir- 
gin with  the  Long  Thigh."  A  set  of  thirteen  plates  of  Christ  and 
the  Apostles.  S.  Michael  discomfiting  the  Evil  Spirit.  The  Rape 
of  Helen.  Venus  quitting  Juno  and  Ceres.  The  Triumph  of  Gal- 
atea. The  Assembly  of  the  Gods.  Venus  on  the  Water,  seated  on 
a  Shell.  Venus  under  a  Tree,  taking  a  Thorn  from  her  Foot;  called 
"  The  Venus  with  the  Rabbit."  Polyphemus  pursuing  Galatea. 
Galatea,  on  a  Shell,  flying  from  Polyphemus. 

Engraver,  RAYMOND,  John.     The  Holy  Family;  a  circular  plate. 

Engraver,  RICIIOMME,  Joseph  Theodore.  The  Triumph  of  Gala- 
tea. Five  Saints.  The  Holy  Family.  Adam  and  Eve. 

Engraver,  ROTA,  Martino.     Christ  appearing  to  S.  Peter;  1568. 

Engraver,  ROUSSELLET,  Giles.  The  Holy  Family,  with  S.  Eliza- 
beth and  S.  John,  presenting  Jesus  with  a  Bird.  La  Belle  Jardi- 
niere. The  Holy  Family,  with  S.  Elizabeth,  S.  John,  and  two  An- 
gels. S.  Michael  discomfiting  the  Evil  Spirit. 

Engraver,  SADELLER,  Egidius  or  Giles.     The  Virgin  and  Infant. 

Engraver,  SANUTO  or  SANUTUS,  Giulio.  Tht  'Marriage  of  the 
Virgin.  Apollo  and  Marsyas,  after  Correggio ;  with  the  Parnassus, 
after  Raphael. 

Engraver,  SCALBERG,  Peter.     The  Entombing  of  Christ. 

Engraver,  SCHIAVONE,  Andrea.  S.  Peter  and  S.  John  healing 
the  Lame  Man. 


484  RAPHAEL. 

Engraver,  SCHUPPEN,  Peter  Van.     The  Virgin  and  Child;  1661. 

Engraver,  SCOTTO  or  SCOTTI,  Girolamo.  The  Virgin  in  the 
Clouds,  with  the  Child  in  her  arms.  Madonna  di  Foligno.  Mater 
pulchrae  dilectionis;  after  a  picture  by  Raphael,  discovered  at  Genoa 
in  1823. 

Engraver,  SELMA,  Fernando.  La  Madonna  del  Pesce.  The  Vir- 
gin and  Child. 

Engraver,  SIMONEAU,  Charles.  The  Holy  Family,  with  S.  Eliza- 
beth and  S.  John.  The  Virgin  and  Child,  with  S.  John. 

Engraver,  S  IRANI,  Elisabetta.  The  Holy  Family;  inscribed, 
Elizabetha  Sirani,  sic  incisum  exposuit. 

Engraver,  STRANGE,  Robert,  Sir.  S.  Cecilia;  1771.  Justice; 
1765.  Meekness;  1765. 

Engraver,  TARDIEU,  Peter  Alexander.  Christ  overcoming  Lu- 
cifer. 

Engraver,  TESTELIN,  Henri.  The  Holy  Family,  in  which  Angels 
scatter  Flowers.  S.  Michael  vanquishing  Satan. 

Engraver,  THOMASSIN,  Philip.  A  set  of  plates  called  "  Christ 
and  the  Apostles."  S.  Margaret.  S.  Cecilia.  School  of  Athens. 
The  Disputa.  The  Defeat  of  the  Saracens  in  the  Port  of  Ostia.  In- 
cendio  del  Borgo. 

Engraver,  THOMASSIN,  Simon.  The  Miraculous  Draught  of  Fishes. 
The  Transfiguration. 

Engraver,  VAILLANT,  Wallerant.     S.  Barbara. 

Engraver,  VALET  or  VALLET,  William.  The  Nativity.  The 
Holy  Family.  Melchisedec  bringing  Presents  to  Abraham.  The 
Last  Supper. 

Engraver,  VALLEE,  Simon.  The  Transfiguration.  S.  John  in 
the  Desert. 

Engraver,  VANGELISTI,  Vincenzio.     The  Madonna  and  Child. 

Engraver,  VICENTINO,  Gio.  Niccolo.  Hercules  killing  the  Lion. 
A  Sibyl  reading  a  Book. 

Engraver,  Vico,  Vicus,  or  VIGHI,  Enea.  The  Entombing  of 
Christ;  1548. 

Engraver,  VICTORIA,  Vicente.  Virgin  and  Child  in  the  Clouds, 
with  a  Glory  of  Angels,  S.  John,  S.  Francis,  and  S.  Jerome  below. 

Engraver,  VILLAMENA,  Francesco.  The  Holy  Family,  with  S. 
John,  S.  Elizabeth,  and  S.  Anne;  1602.  Same  subject,  engraved  at 
Rome",  1611.  A  set  of  twenty  Scriptural  subjects  from  the  Vatican, 
called  "  Raphael's  Bible." 

Engraver,  VOLPATO,  Gio.  Four  Sibyls;  from  paintings  in  the  ch. 
of  S.  Maria  deHfP  Pace.  The  Marriage  of  Alexander  and  Roxana. 
Illuminated  Plates  :  The  School  of  Athens;  The  Disputa;  Helio- 
dorus;  Attila  arrested  by  S.  Peter  and  S.  Paul;  S.  Peter  delivered 
from  Prison;  Mount  Parnassus;  Incendio  del  Borgo;  The  Mass  of 
Bolsena. 


RAPHAEL  —  BEAD.  485 

Engraver,  VORSTERMAN,  Lucas,  the  Elder.  The  Holy  Family. 
The  Entombing  of  Christ.  S.  George. 

Engraver,  VOUILLEMONT,  Sebastian.  Murder  of  the  Innocents. 
Christ  with  the  Disciples  at  Emmaus.  Mount  Parnassus. 

Engraver,  VUIBERT  or  WIBERT,  Remi.  Adam  receiving  the 
rorbidden  Fruit.  The  Judgment  of  Solomon.  Apollo  and  Marsyas. 

Rauch,  Christian,  born  at  Waldeck  (1777-1857).  This  eminent 
sculptor  was  a  follower  of  Schadow,  and  as  artist  and  teacher  car- 
ried out  the  style  of  that  master.  The  statue  of  Queen  Louise  at 
Charlottenburg  is  one  of  the  finest  productions  of  modern  sculptors. 
In  Berlin  are  his  statues  of  the  Generals  Scharnhorst  and  Billow ;  the 
reliefs  on  the  pedestals  are  of  classic  beauty.  These  were  done  be- 
tween 1815  and  1822,  and  his  advance  in  design  and  expression  of  life 
may  be  seen  by  comparing  them  with  the  grand  Friedrichs  monument 
(1839-1851),  which  is  not  far  from  them.  This  last  is- one  of  the 
very  finest  works  of  modern  times.  Other  important  works  by  Rauch 
are  the  statue  of  Bliicher,  at  Breslau;  that  of  August  Hermann 
Franke,  at  Halle;  that  of  Diirer,  at  Nuremberg;  the  monument  to 
Maximilian  L,  at  Munich;  and  six  marble  "  Victories  "  for  the  Wal- 
halla.  He  also  executed  many  marble  busts  of  great  excellence.  He 
combined  a  happy  and  truthful  embodiment  of  individual  character 
with  fine  technical  treatment,  and  yet  he  seemed  to  elevate  the  indi- 
vidual characteristics  to  the  greatest  nobleness  of  which  they  were 
capable,  thus  giving  a  satisfactory  portrait  and  a  more  satisfactory 
effect.  Late  in  life  he  made  a  model  for  the  marble  group  of  "  Moses 
supported  in  prayer  by  Aaron  and  Hur,"  but  as  a  rule  he  avoided 
religious  subjects. 

Ravenna,  Marco  da,  real  name  Marco  Dente. 
Born  at  Ravenna  about  1496.  One  of  the  best  pu- 
pils  of  Marc  Antonio  Raimondi.  He  did  not  equal 
his  master  in  firmness  of  touch  and  precision  of  drawing,  but  was, 
after  all,  a  good  engraver.  It  is  believed  by  some  that  the  second 
plate  of  the  "  Murder  of  the  Innocents  "  was  executed  by  this  artist. 
If  so  it  is  his  clief-tf ceuvre,  but  it  is  very  doubtful.  Usually  he  was  a 
mere  copyist  of  his  instructor,  and  failed  in  imitating  him  in  his  most 
finished  works. 

Ravestyn,  Jan,  born  at  the  Hague  (1580-1657).  This  portrait 
painter  executed  two  very  large  pictures,  which  are  in  the  Town 
Hall  at  the  Hague.  His  smaller  works  are  seen  in  many  private  col- 
lections in  Holland.  His  heads  are  full  of  life,  but  somewhat  coarse; 
his  handling  is  skilful,  but  his  color  is  usually  too  red. 

Razzi,  called  II  Soddoma.     See  Bazzi. 

Read,  Thomas  Buchanan,  born  in  Chester  County,  Pennsylvania 
(1822-1872).  When  but  seventeen  years  old  he  entered  the  studio 
of  a  sculptor  in  Cincinnati,  intending  to  devote  himself  to  sculpture 
ior  life;  but  painting  soon  proved  the  more  attractive  to  him,  and 


486  READ  —  REINAGLE. 

he  practised  sculpture  only  as  an  amateur.  His  bust  of  General 
Sheridan  will  be  remembered  as  an  ornament  of  his  studio  in  Rome. 
In  1841  he  went  to  New  York,  then  to  Boston,  and  settled  in  Phila- 
delphia in  1846.  He  visited  Europe  first  in  1850,  since  which 
time  he  has  lived  in  Florence  and  Rome,  passing  some  intervals 
in  Cincinnati.  His  pictures  and  his  poems  have  the  same  charac- 
teristics, as  might  be  expected.  They  are  full  of  aerial  grace  and 
delicacy;  an  exquisite  refinement  and  an  ideal  charm  mingle  in  all 
he  did.  And  yet  he  sometimes  wrote  with  the  spirit  we  find  in 
"  Sheridan's  Ride,"  and  painted  with  such  force  as  is  seen  in 
"  Sheridan  and  his  Horse."  His  portraits  are  too  well  known  to 
require  praise.  Some  of  his  most  charming  pictures  are  his  "  Un- 
dine," "  The  Lost  Pleiad,"  and  «  The  Star  of  Bethlehem."  1  His 
poems  have  gained  him  an  honorable  place  among  the  minor  poets  of 
America,  and  many  of  them  are  widely  known,  though  none  so  well 
as  the  "  Sheridan's  Ride,"  which  has  received  the  largest  praise  of 
all.  His  first  poems  were  published  in  Boston  in  1847;  his  "Lays 
and  Ballads  "  in  1848,  and  an  illustrated  edition  in  1853.  In  1855 
"  The  New  Pastoral  "  was  published,  and  "  The  Home  by  the  Sea  " 
followed  the  next  year.  In  1860  a  collective  edition  of  his  works 
was  issued,  and  since  then  his  writing  has  been  but  occasional.  For 
about  five  years  before  his  death  he  had  scarcely  left  Rome,  and  the 
effect  of  the  climate  told  upon  his  health  very  seriously.  He  de- 
termined to  come  home,  and  when  in  Liverpool  contracted  a  cold, 
which  ended  in  pleuro-pneumonia,  and  he  died  May  llth,  only  a  few 
days  after  his  arrival  in  New  York.  His  sufferings  on  the  voyage 
were  intense,  and  although  he  rallied  a  little  after  landing,  and  had 
hopes  himself  of  reaching  Cincinnati,  where  he  ardently  desired  to 
go,  his  strength  continually  failed  until  he  passed  beyond  all  journeys. 
His  friends  are  in  all  lands,  and  he  was  dearly  loved  for  his  sweet 
disposition  and  cordial  manners,  as  he  was  much  admired  for  his 
intellectual  gifts  and  attainments.  The  society  he  graced  in  Rome 
will  feel  his  loss  deeply,  and  his  American  friends  cherish  his  mem- 
ory with  true  affection. 

Regillo.     See  Pordenone. 

Reinagle,  Philip  (1749-1833).  A  landscape  and  animal  painter 
of  some  merit.  He  spent  considerable  time  in  painting  the  "  Sports- 
man's Cabinet,"  a  collection  of  dogs.  These  were  engraved  by  John 
Scott.  Richard  Ramsay  Reinagle,  son  of  Philip,  was  a  successful 
landscape  painter  (1775-1862).  He  resided  several  years  in  Italy, 
and  brought  to  England  a  great  number  of  sketches,  from  which  he 
composed  his  pictures.  George  P.  Reinagle  (1802-1835),  son  of  R. 
R.  Reinagle,  was  a  painter  of  sea  pieces,  but  is  best  remembered  for 

1  Mr.  Claghorn  of  Philadelphia  (a  generous  friend  and  patron  of  Mr.  Read) 
has  in  his  Coll.  several  pictures  by  this  artist,  executed  during  his  successive 
visits  to  Italy,  and  showing  his  progress  from  time  to  time. 


REINAGLE  —  REMBRANDT.  487 

his  drawings  of  ships,  sea-fights,  etc.,  on  stone.  He  was  present  at 
the  battle  of  Navarino,  and  painted  several  works  representing  that 
engagement. 

Rembrandt  van  Ryn,  born  at  Leyden  (1607-1669).  This  great 
painter  was  not  intended  by  his  parents  for  the  profession  which  he 
chose.  He  was  placed  in  a  good  school  at  Leyden,  but  very  early 
manifested  such  a  talent  for  drawing  and  such  a  love  for  it,  as  ex- 
cluded everything  else  from  his  thoughts.  He  was  therefore  placed 
under  the  instruction  of  J.  J.  van  Swanenburg,  of  Leyden.  It  is  also 
said  that  he  was  taught  by  Pieter  Lastmann  and  Jacob  Pin  as.  If 
the  influence  of  any  master  can  be  seen  in  the  works  of  Rembrandt, 
it  would  be  that  of  Lastmann,  but  he  so  entirely  originated  his  own 
manner,  that  we  scarcely  realize  that  he  was  ever  taught  at  all.  At 
the  early  age  of  twenty-two  he  established  himself  in  Amsterdam, 
where  he  lived  until  his  death.  He  had  already  attracted  much 
attention,  and  received  numerous  commissions.  In  1634  he  married 
Saskia  Nilenburg,  a  wealthy  young  lady  of  very  respectable  con- 
nections. She  lived  but  eight  years  after  her  marriage,  and  bore  two 
children,  but  one  of  whom,  Titus,  survived  her.  The  years  of  this 
marriage  were  undoubtedly  the  happiest  portion  of  Rembrandt's  life. 
Saskia  left  her  entire  fortune  to  her  husband,  stipulating  only  that 
her  son  should  be  well  educated,  and  should  receive  a  marriage  por- 
tion. Rembrandt  married  again,  and  had  two  other  children  born  to 
him,  as  is  proved  by  the  records  of  Amsterdam,  but  the  name  or 
position  of  his  second  wife  is  not  known.  There  is  very  little 
material  for  a  biographical  sketch  of  this  master.  It  has  been  by 
some  supposed  that  he  knew  nothing  of  antique  or  Italian  art,  but 
we  now  know  that  his  strongest  passion  was  that  of  collecting  works 
of  art  and  curiosities;  indeed,  his  pursuit  of  these  things,  and  his 
willingness  to  pay  large  sums  for  them,  was  the  cause  of  his  ultimate 
poverty.  In  the  Court  of  Insolvency  at  Amsterdam  is  the  catalogue 
of  his  collection,  and  this  simple  and  hastily  written  paper  throws 
much  light  on  the  history  of  Rembrandt.  Besides  a  rich  collection 
of  weapons,  armor,  costumes,  and  utensils  of  different  nations,  he  had 
a  number  of  antique  sculptures,  such  as  the  "  Laocob'n,"  a  "  Cupid," 
and  busts  of  Homer  and  Socrates;  of  pictures,  he  had  those  of  the 
Dutch  and  Netherlandish  schools  from  the  earliest  dates,  and  a 
small  number  by  such  Italian  masters  as  Giorgione,  Falma  Vecchio, 
Raphael,  and  Michael  Angelo.  His  engravings  were  numerous  and 
from  the  works  of  Titian,  Andrea  Mantegna,  Vanni,  Baroccio, 
Tempesta,  the  Carracci,  Guido,  Spagnoletto,  and  others.  -The  list 
also  mentions  "  a  parcel  of  ancient  rags  of  various  colors."  With 
this  knowledge,  we  can  no  longer  feel  that  Rembrandt  did  not  choose 
his  subjects  and  their  treatment  from  a  decided  preference  and  love 
for  them,  and  with  sufficient  knowledge  of  what  had  been  done  by 
other  artists,  in  other  nations  and  times,  to  be  able  to  decide  under- 


488  REMBRANDT. 

standingly  for  himself.  He  wished  only  to  represent  what  he  saw, 
and  of  what  he  saw  it  was  ever  the  most  striking  and  unusual  feature 
which  seemed  to  remain  with  him.  We  are  too  apt  to  say  of  an 
unusual  thing  that  it  is  not  natural;  but  if  we  were  more  acute  in 
our  observations,  we  should  soon  find  that  nothing  can  be  too  strange 
to  be  natural,  and  especially  when,  as  in  the  case  of  Rembrandt,  the 
great  effects  are  those  of  light  and  shade.  Have  we  not  all  seen  a 
landscape  on  a  dull  day,  with  no  sun  and  no  shadow,  that  seemed  tame 
and  featureless  ?  And  have  we  not  seen  the  same  place  again  when 
the  sun  threw  out  that  clump  of  trees,  and  shimmered  on  that  brook 
until  it  was  rippling  silver,  and  left  all  else  dark  and  cold,  —  so  cold 
and  so  dark  that  the  great  rock  is  blacker  than  black,  and  the  grass 
beyond  the  sunshine  brown  in  place  of  green,  —  and  we  wonder  why 
we  did  not  see  that  there  was  character  and  "  points  "  here  before  ? 
Now,  this  is  just  what  Rembrandt  did.  He  put  such  effects  of  light 
and  shade  as  he  had  seen,  and  nothing  else.  He  gave  in  every  work 
"  points  "to  fix  our  eye,  and  though  all  else  was  finished  with  ex- 
quisite skill,  and  would  bear  examination  just  as  the  flowers  and 
grass  in  the  shade  of  our  real  landscape  would  do  if  we  went  to  them, 
still  we  do  not  care  to  search  them  out.  The  one  great  interest 
holds  us  and  is  enough.  His  technical  powers  were  marvellous; 
his  freedom,  spirit,  and  breadth  of  manner  had  no  example  before 
him.  In  spite  of  all  these  advantages,  he  painted  ugly  and  even 
vulgar  heads ;  he  disregarded  all  rules  of  art  in  costume  and  acces- 
sories ;  he  parodied  ideal  and  mythological  subjects,  and  painted  the 
coarse  and  common  men  about  him  to  represent  the  personages  of 
Scripture  story  ;  but  with  all  there  is  a  simplicity,  truthfulness,  and 
earnestness  that  holds  and  satisfies  us.  At  different  periods  he  used 
different  lighting  and  handling;  e.  g.,  before  1633  he  used  such  clear 
daylight  as  is  seen  in  the  "  Anatomical  Lecture,"  now  at  the  Hague; 
the  flesh  tints  are  warm  and  clear,  and  there  is  a  certain  fusion  in 
spite  of  the  free  and  careful  touch.  Ever  after  this  period  he  pre- 
ferred the  light  of  which  we  have  spoken,  enclosed  light,  so  to 
speak ;  that  which  leaves  great  masses  in  shadow,  and  breaks  over 
certain  objects;  his  touch,  too,  became  very  spirited  and  more  dis- 
tinct; his  flesh  tones  were  more  golden,  and  therefore  less  natural. 
It  was  in  1656  that  his  money  matters  became  so  involved  that  his 
house  and  his  precious  collection  were  sold.  We  can  imagine  the 
grief  this  must  have  been  to  him,  and  yet  his  works  do  not  show  it. 
The  large  picture  of  "Jacob  blessing  the  Sons  of  Joseph,"  in  the 
Cassel  Gall.,  was  painted  in  this  year.  The  etchings  are  no  less 
wonderful  than  the  paintings  of  this  great  master.  He  has  been 
called  the  "  Prince  of  Etchers."  He  did  not  use  the  etching  needle 
alone,  but  the  dry  point  also,  and  sometimes  finished  with  the  graver. 
He  established  a  new  school  of  engraving,  and  by  his  own  genius 
alone  invented  a  process  of  which  the  charm  is  indescribable.  His 


REMBRANDT. 


489 


consummate  management  of  light  and  shadow,  together  with  his  free 
handling  of  his  point,  produces  wonderful  results;  he  makes  a  con- 
fusion, but  brings  a  surprising  and  perfect  effect  out  of  it.  Both  as 
a  painter  and  engraver  his  portraits  are  of  the  very  highest  excel- 
lence. His  domestic  scenes  are  full  of  spirit,  and  have  an  irresistible 


RAPE  OF  GANYMEDE.   BY  REMBRANDT. 

Dresden  Gall. 

power,  and  his  compositions  of  a  higher  order  seem  to  have  been 
executed  by  a  magic  needle.  Such  are  the  plates  of  ' '  Christ  heal- 
ing the  Sick,"  and  the  "  Raising  of  Lazarus."  The  first  of  these  is 
known  as  the  "Hundred  Guilders  Print,"  that  being  the  price  set 
upon  it  by  the  master.  A  good  impression  of  it  is  now  worth  about 
nine  times  that  sum.  Of  his  portraits  in  etching,  those  of  Jan  Lutma, 


490  REMBRANDT. 

Burgomaster  Six  (his  great  patron),  and  of  himself  are  the  most 
remarkable.  It  is  very  hard  to  select,  in  the  space  we  have,  the 
pictures  or  engravings  of  which  to  speak,  for  he  left  about  600  of  the 
first  and  400  of  the  latter,  and  they  embrace  all  possible  conceptions 
of  such  subjects  as  he  represented.  His  works  are  in  all  large 
galleries.  The  following  is  a  partial  list  of  the  more  important  ones : 
The  "  Night  Watch  "  (his  largest  picture)  and  the  "  Trustees  of  the 
Staalhof,"  in  the  Amsterdam  Gall. ;  the  "  Anatomical  Lecture"  and 
the  "  Presentation  in  the  Temple,"  in  the  Hague  Gall. ;  the  "  Descent 
from  the  Cross,"  cabinet,  Munich  Gall. ;  the  "  Woman  taken  in 
Adultery,"  a  "  Descent  from  the  Cross,"  and  a  fine  portrait  of  a  Rabbi, 
in  the  National  Gall.;  a  "  Holy  Family,"  the  "  Family  of  Tobit  ador- 
ing the  departing  Angel,"  the  "Good  Samaritan,"  two  "Philos- 
ophers "  (so-called),  two  portraits  of  himself,  and  another  of  a  beau- 
tiful young  woman,  in  the  Louvre;  the  well-known  "  Ganymede,"  at 
Dresden,  and  a  number  of  pictures  in  the  Cassel  Gall.,  among  which 
are  the  large  picture  of  "Jacob  blessing  Joseph's  Sons,"  already 
mentioned,  and  a  fine  portrait  of  a  female  in  profile.  The  Berlin 
Mus.  has  the  picture  of  "  Prince  Adolphus  of  Gueldres  threatening 
his  Father  in  Prison;"  this  is  important  among  Rembrandt's  works 
from  profane  history.  Besides  all  these,  the  galleries  of  St.  Peters- 
burg and  Vienna  are  rich  in  his  pictures,  and  a  large  number  are 
scattered  through  England  in  private  galleries;  and  those  of  the 
magnificent  Coll.  of  the  Six  family,  in  Amsterdam,  should  not  be 
forgotten.  This  great  artist  gave  expression  to  his  feeling  for  nature 
in  some  rare  landscapes.  Most  of  these  are  in  private  hands.  I 
have  seen  but  one,  in  the  Cassel  Gall.  It  has  a  magnificent  sky ;  in 
the  foreground  is  a  bridge,  and  on  an  eminence  the  ruins  of  a  castle 
are  seen.  The  color  is  glowing,  and  the  whole  composition  charm- 
ing, just  as  we  should  expect  when  we  think  of  his  landscape  etch- 
ings. The  last  home  of  Rembrandt  was  on  the  Rozengracht,  where 
he  died.  He  was  buried  in  the  cemetery  of  the  Westerkerk,  and  the 
registered  cost  of  the  burial  fees  is  but  fifteen  florins. 

ENGRAVINGS   AFTER   THE    WORKS    OF   REMBRANDT. 

Engraver,  AMSTEL,  Cornelius  Ploos  van.  A  Woman  looking  out 
of  a  Door;  Rembrandt,  del,  P.  Van  Amstel,  fecit;  1764.  A  Young 
Man,  with  a  Hat  on,  looking  out  of  a  Door;  same  inscription;  both 
fine. 

Engraver,  ARDELL,  James  Me.  Interior  of  a  Chamber,  with  a 
Woman  reading  and  a  Child  in  a  Cradle;  fine.  The  Angel  and 
Tobit.  The  Tribute  Money.  Rembrandt's  Mother  reading. 

Engraver,  BAILLU, .     S.  Anastatius  reading. 

Engraver,  BERNARD,  Samuel.     The  Nativity. 

Engraver,  BRINCKMAN,  Philip  Jerome.  The  Repose  in  Egypt; 
Rembrandt,  inv.,  Brinckman,fec. 


REMBRANDT.  491 

Engraver,  CAMPION,  Charles,  Comte  de  Tersan,  and  his  brother 
Joseph  Andre.  Abraham  and  Isaac.  Job  and  his  Wife. 

Engraver,  CHATELAIN,  J.  B.     A  Landscape. 

Engraver,  CORBUTT,  Charles.     The  Old  Rabbi. 

Engraver,  DANZEL,  Jerome.     An  Old  Man;  half-length. 

Engraver,  EARLOM,  Richard.  A  Portrait  of  Rembrandt.  Rem- 
brandt's Wife;  Rembrandt, pinx.  Elijah  restoring  to  life  the  Widow's 
Son.  The  Presentation  in  the  Temple.  Susanna  and  the  Elders. 

Engraver,  EXSIIAU,  S.  A  Bust  of  an  Old  Man,  with  a  Round 
Hat;  Rembrandt,  inv.,  C.  Exshau,fec.;  1758.  The  Head  of  an  Old 
Man,  with  a  Beard;  same  inscription  and  date.  Joseph  and  Poti- 
phar's  Wife;  Rembrandt,  pinx.,  Exshau,  fee.  aqua  forte;  scarce.  S. 
Peter's  Bark  in  the  Storm ;  same  inscription,  scarce. 

Engraver,  GREENWOOD,  John.  Christ  with  Nicodemus.  Christ 
among  the  Doctors.  Rembrandt's  Father. 

Engraver,  HAID,  John  Gottfried.     Abraham  offering  up  Isaac. 

Engraver,  HAID,  John  Elias.  The  Nativity.  The  Raising  of 
Lazarus. 

Engraver,  HOUBRAKEN,  Jacob.    The  Sacrifice  of  Manoah. 

Engraver,  HOUSTON,  Richard.  An  Old  Man  with  a  Beard;  fine. 
A  Man  seated,  with  a  large  Hat  on  his  Head ;  fine.  Bust  of  a 
Woman,  called  "  The  great  Jew  Bride."  An  Old  Woman  plucking 
a  Fowl.  A  Man  holding  a  Knife.  The  Pen-cutter.  The  Philoso- 
pher in  Contemplation.  The  Gold- weigher.  Christ  and  the  Samari- 
tan Woman. 

Engraver,  JANOTA,  John  George.    Bust  of  a  Young  Man. 

Engraver,  LANDERER,  Ferdinand.     Samson  and  Delilah. 

Engraver,  LAWRIE,  Robert.     The  Incredulity  of  S.  Thomas. 

Engraver,  LEEUW,  William  de.  Tobit  and  his  Wife.  David 
playing  the  Harp  before  Saul.  The  Portrait  of  Rembrandt's  Wife. 
A  Lady  with  a  Veil;  half-length;  inscribed,  Marianne. 

Engraver,  LEPICI^,  Bernard.     Vertumnus  and  Pomona. 

Engraver,  MARCENAY,  Anthony  de  Ghuy.  Tobit  recovering  his 
Sight.  The  Lady  with  the  Pearl;  an  oval;  1768. 

Engraver,  MOREAU,  John  Michael.     The  Bath  of  Bathsheba. 

Engraver,  OESER,  Frederic.  Saul  and  the  Witch  of  Endor.  The 
Presentation  in  the  Temple. 

Engraver,  PETHER,  William.  The  Rabbi.  An  Officer  in  Armor. 
An  Old  Man  with  a  Beard.  The  Lord  of  the  Vineyard. 

Engraver,  RAVENET,  Simon  Francis.     The  Lord  of  the  Vineyard. 

Engraver,  READ,  Richard.     A  Portrait  of  a  Dutch  Lady. 

Rembrandt's  own  Plates. 
Portraits  of  himself  :  — 
Rembrandt  with  his  mouth  open.     1630. 
The  Busts  of  Rembrandt  and  his  Wife.     1636. 


492  REMBRANDT. 

A  Bust  of  Rembrandt;  highly  finished.     1638. 

His  Portrait,  with  a  Crayon  in  his  Hand. 

His  Portrait  in  a  Persian  Habit.     1654. 

There  are  in  all  twenty-seven  portraits  of  Rembrandt  by  himself. 
The  above  are  the  most  interesting. 

Old  Testament  Subjects :  — 

Adam  and  Eve  in  Paradise.     1638. 

Abraham  sending  away  Hagar.     1637. 

Abraham  and  Isaac.     1645. 

Joseph  relating  his  Dream.     1638. 

Jacob  lamenting  the  Death  of  Joseph. 

Joseph  and  Potiphar's  Wife.     1634. 

The  Triumph  of  Mordecai. 

Tobit  and  the  Angel.     1641. 

New  Testament  Subjects  :  — 

The  Annunciation  to  the  Shepherds.     1634. 

The  Adoration  of  the  Shepherds ;  three  different  impressions. 

The  Circumcision;  fine. 

The  Presentation  in  the  Temple.     1630. 

The  Flight  into  Egypt.     1658. 

Same  subject  in  the  manner  of  mezzotinto. 

Same  subject  in  the  style  of  Elsheimer. 

The  Holy  Family.     1654. 

The  Little  Tomb.      * 

The  Tribute  Money. 

Christ  driving  the  Money-changers  from  the  Temple. 

Christ  and  the  Samaritan  Woman. 

Same  Subject,  with  Samaria  in  the  distance.     1634. 

The  Raising  of  Lazarus.     1642. 

The  Great  Resurrection  of  Lazarus.  The  first  impressions  of  this 
print  are  scarce,  and  the  figure  running  away  is  bareheaded.  In  the 
second  he  wears  a  cap. 

Christ  healing  the  Sick;  called  "  The  Hundred  Guilders  Print." 

The  great  Ecce  Homo.     1636. 

The  Descent  from  the  Cross.     1633. 

Christ  presented  to  the  People.     1655. 

The  Crucifixion.    1658. 

The  Entombing  of  Christ. 

Christ  with  the  Disciples  at  Emmaus.     1643. 

The  Good  Samaritan.  The  first  impressions  have  the  tail  of  the 
horse  white. 

SS.  Peter  and  John  at  the  Gate  of  the  Temple. 

The  Baptism  of  the  Eunuch.     1641. 

The  Death  of  the  Virgin.     1639. 

Devout  Subjects :  — 

The  Stoning  of  Stephen.     1635. 


REMBRANDT.  493 

S.  Jerome  sitting  near  the  Trunk  of  a  Tree.     1654. 

S.  Jerome  kneeling.     1634. 

S.  Jerome  writing  in  a  Book.     1648. 

S.  Jerome;  an  unfinished  plate. 

S.  Francis  praying;  1657;  very  scarce. 

Various  Subjects  :  — 

The  Hour  of  Death. 

Youth  surprised  by  Death.     1639. 

The  Marriage  of  Jason  and  Creusa.     1648 

The  Star  of  the  Kings. 

A  Lion  Hunt. 

The  Blind  Bagpiper. 

The  Spanish  Gypsy. 
.  The  Rat-killer.     1632. 

The  Goldsmith. 

The  Pancake  Woman.     1635. 

The  Jewish  Synagogue.     1648. 

The  Corn-cutter. 

The  Schoolmaster.     1641. 

The  Mountebank. 

Travelling  Peasants. 

A  Jew  with  a  high  Cap.     1639. 

The  Astrologer. 

The  Philosopher. 

The  Persian.     1632. 

The  Skater. 

Beggars :  — 

Several  small  plates  of  Beggars;  some  of  which  are  scarce. 

Group  of  Beggars  at  the  Door  of  a  House.     1648. 

Academical  Subjects  :  — 

A  Student  drawing  from  the  Model  called  "  The  Statue  of  Pyg- 
malion." 

The  Bathers.     1631. 

A  Woman  before  a  Stove.     Four  different  impressions. 

A  Woman  with  her  Feet  in  the  Water. 

Landscapes :  — 

Bridge  of  the  Burgomaster  Six.     1643. 

View  of  Amsterdam. 

The  Sportsman. 

The  three  Trees.     1642. 

Landscape,  called  "  The  Milk  Pails." 

A  Village  near  the  High  Road;  arched.     1650. 

The  Coach  Landscape. 

Village  with  a  Square  Tower;  arched.     1650. 

A  Large  Landscape,  with  a  Cottage  and  Barn.     1641. 

A  Village  seen  in  the  distance.     1641. 


494  EEMBRANDT. 

Landscape  with  Cattle;  arched. 
Landscape  with  an  Obelisk;  arched. 
The  Mill  of  Rembrandt's  Father.     1641. 
The  Gold-weigher's  Field.     1651. 
Landscape,  with  a  Cow  drinking. 
Portraits  of  Men  :  — 
An  Old  Man  with  a  large  Beard. 
A  Man  with  a  Crucifix  and  Chain.     1641. 
J.  Antonides  Vander  Linden,  Professor  of  Physic. 
Janus  Silvius,  minister,  of  Amsterdam. 
A  Young  Man  meditating.     1636. 
Manasseh  Ben  Israel.     1636. 
Dr.  Faustus. 

Renier  Hansloo,  minister  of  the  Anabaptists.     1641. 
Clement  de  Jonge,  print-seller.     1651. 
Abraham  France. 
The  Old  Haaring. 
The  Young  Haaring.     1655. 
John  Lutna,  goldsmith.     1656. 
John  Asselyn,  painter. 
Ephraim  Bonus,  a  Jewish  physician. 
Wtenbogardus ;  oval.     1635. 
John  Cornelius  Silvius. 
The  Banker,  or  Gold-weigher.     1639. 
The  Little  Coppenol,  the  Writing-master. 

The  Great  Coppenol.    Impressions  of  this  plate  with  the  \rhite  or 
unfinished  background  are  very  scarce. 
The  Advocate  Tolling. 
The  Burgomaster  Six.     1647. 
Fancy  Heads  of  Men  :  — 

Three  Oriental  Heads;  inscribed  Rembrandt  Venetiis.     1635. 
An  Old  Man  with  a  large  Beard. 
A  Bald-headed  Old  Man.     1630. 
A  Young  Man,  half-length,  in  profile. 

Bust  of  an  Old  Man  with  square  Beard  and  velvet  Cap.     1637. 
The  Turkish  Slave. 
The  Philosopher  with  the  Hour-glass. 
Portraits  of  Women  :  — 
The  Great  Jewish  Bride. 
The  Little  Jewish  Bride.     1638. 
Two  portraits  of  Old  Women. 
A  Young  Woman  reading.     1634. 
An  Old  Woman  in  an  Oriental  Dress.      1631, 
Rembrandt's  Mother.     1631. 
Rembrandt's  Wife. 
An  Old  Woman  sleeping. 


REMBRANDT  —  RENI.  495 

An  Old  Woman  with  Spectacles. 

The  above  are  but  a  part  of  the  prints  made  by  Rembrandt,  and 
there  is  a  variety  of  studies  and  sketches,  some  of  which  are  very 
fine,  and  very  scarce. 

Engraver,  SAVERY  or  SAVRY,  Solomon.  Christ  driving  the 
Money-changers  out  of  the  Temple. 

Engraver,  SCHIAVONETTI,  Luigi.     The  Portrait  of  Berchem. 

Engraver,  SCHMIDT,  George  Frederic.  The  Portrait  of  Rem- 
brandt. Christ  restoring  the  Daughter  of  Jairus.  Lot  and  his 
Daughters;  very  rare.  The  Young  Jewess  and  her  Father.  The 
Mother  of  Rembrandt.  The  Young  Lord.  Old  Man  with  the 
Beard. 

Engraver,  SPILSBURY,  Inigo.     Abraham  sending  away  Hagar. 

Engraver,  TISCHBEIN,  John  Henry,  the  Younger.  A  Mountain- 
ous Landscape. 

Engraver,  WATSON,  Thomas.  Jupiter  and  Mercury  with  Philemon 
and  Baucis. 

Engraver,  WOOD,  John.     A  Firelight. 

-r\  Reni,  Guido,  born  at  Bologna  (1575-1642).  Son  of  a 
fBX  professor  of  music,  he  early  began  to  practise  playing  upon 
the  flute,  but  soon  chose  to  adopt  the  profession  of  a  painter. 
His  first  instructor  was  Denis  Calvart,  whom  he  left  in  order  to  enter 
the  school  of  the  Carracci,  where  he  became  the  favorite  of  Ludo- 
vico.  When  the  pictures  of  Caravaggio  began  to  attract  attention, 
the  Carracci  were  thoroughly  alarmed  for  the  fate  of  true  art,  and 
Annibale  in  a  lecture  laid  down  the  rules  which  he  considered  the 
basis  of  the  highest  type  of  painting.  This  discourse  made  a  great 
impression  upon  Guido,  and  he  determined  to  govern  himself  by  it. 
Soon  the  excellence  of  his  works  was  noticed,  and  he  was  upbraided 
by  his  teachers  for  insolence  in  attempting  to  establish  a  new  system; 
Ludovico  at  last  dismissed  him  from  the  academy.  Guido  soon  after 
painted  a  "  S.  Benedetto  in  the  Desert,"  for  the  ch.  of  S.  Michele  in 
Bosco;  some  of  Ludovico's  finest  works  were  in  the  same  church, 
but  that  of  Guido  did  not  suffer  by  contrast.  He  went  to  Rome  with 
Albano.  His  first  picture  painted  there,  the  "Martyrdom  of  S. 
Cecilia,"  won  for  him  great  praise,  but  it  gained  him  the  enmity  of 
other  artists.  The  power  of  Caravaggio  was  so  great  at  that  time 
that  when  Card.  Borghese  commissioned  Guido  to  paint  a  picture  of 
the  "  Crucifixion  of  S.  Peter, "he  stipulated  that  it  should  be  done  in 
Caravaggio' s  manner.  Guido  did  not  break  the  letter  of  the  agree- 
ment, but  the  spirit  of  his  work  made  it  very  unlike  those  of  the 
other  master.  His  success  called  out  the  hatred  of  his  enemies; 
even  Albano  deserted  him  ;  but  the  bitterness  of  Annibale  Carracci, 
who  was  then  employed  at  the  Farnesina,  was  the  most  important  of 
all,  for  his  invectives  being  repeated  would  injure  him  even  with  pos- 


496  BENL 

terity  He  gained  a  new  triumph  in  his  decoration  for  Paul  V.  of 
the  private  chapel  of  Monte  Cavallo.  He  had  some  disagreement 
with  the  Pope's  treasurer,  and  returned  to  Bologna.  He  then 
painted  several  pictures  in  his  native  city,  the  most  celebrated  being 
the  "Murder  of  the  Innocents,"  for  the  ch.  of  S.  Domenico.  Paul 
V.  was  anxious  for  his  return  to  Borne,  and  when  he  went  he  was 
employed  at  S.  Maria  Maggiore.  His  finest  work  in  Rome,  which  is 
also  generally  considered  his  chef-d'oeuvre,  is  the  "  Aurora"  in  the 
garden  house  of  the  Palazzo  Rospigliosi.  This  is  well  known  by  the 
engravings  of  Morghen  and  Frey.  After  his  work  was  finished  at  S. 
Maria  Maggiore,  he  returned  to  Bologna  and  was  obliged  to  refuse 
many  commissions,  so  great  was  the  number  he  received.  When  he 
sent  his  "  S.  Michael"  to  the  Cappuccini  at  Rome,  he  wrote,  "  I  wish 
I  had  had  the  wings  of  an  angel,  to  have  ascended  into  Paradise,  and 
there  to  have  beholden  the  forms  of  those  beatified  spirits  from 
which  I  might  have  copied  my  archangel;  but  not  being  able  to 
mount  so  high,  it  was  in  vain  for  me  to  search  for  his  resemblance 
here  below ;  so  that  I  was  forced  to  make  an  introspection  into  my 
own  mind,  and  into  that  idea  of  beauty  which  I  have  formed  in  my 
own  imagination."  It  is  said,  indeed,  that  his  beauty  and  grace  was 
always  drawn  from  the  same  source ;  that  he  was  accustomed  to  pose 
his  color  grinder,  and  drawing  the  outline  from  him,  and  arranging 
the  lights  and  shades  as  he  saw  them,  he  supplied  the  beauty  from 
his  own  idea  of  it.  But  the  life  of  this  master  was  degraded  by  his 
passion  for  gaming,  and  at  last  he  sent  forth  unworthy  pictures  for 
the  sake  of  gain;  he  was,  however,  reduced  to  great  distresses,  which 
brought  on  the  fever  of  which  he  died.  With  the  exception  of  Do- 
menichino  he  is  considered  the  most  worthy  of  the  disciples  of  the  Car- 
racci.  There  is  much  grace  and  beauty  in  his  works,  but  they  are 
wanting  in  vigor  and  strength;  this  is  especially  true  of  his  male 
figures.  There  is  also  a  tiresome  sameness  in  his  female  heads, 
which  seem  to  be  modelled  after  the  antique  Niobe.  His  heads  of 
Christ  want  dignity,  and  his  Virgins  are  only  pretty  women ;  in 
short,  his  characteristic  seems  to  be  an  exalted  and  beautiful  concep- 
tion of  beauty,  without  individual  life  or  interest  —  an  empty  abstrac- 
tion. In  the  last  days  he  multiplied  Madonnas  and  Cleopatras  and 
kindred  subjects,  which  are  to  be  seen  in  many  collections.  In  ad- 
dition to  those  already  mentioned,  some  of  his  more  important  works 
are  a  "  Madonna  della  Pietk"  and  a  "  Mater  Dolorosa  "  at  Bologna; 
SS.  Paul  and  Anthony,  the  hermits,  in  the  Berlin  Mus. ;  a  "  Fortune," 
an  allegorical  picture,  which  is  several  times  repeated,  and  is  in  the 
Schleissheim,  Berlin,  and  Capitol  (Rome)  galleries.  The  Louvre  has 
a  large  number  of  his  works.  He  also  left  a  considerable  number  of 
etchings  which  have  the  same  characteristics  as  his  paintings,  and  are 
executed  with  much  grace  and  freedom. 


!.  2 


g§ 


RENI.  499 

ENGRAVINGS  AFTER  THE  WORKS  OF  GUIDO  RENI. 

Engraver,  ALIAMET,  Francis  Germain.  The  Circumcision; 
oval. 

Engraver,  ANDRIOT  or  HANDERIOT,  Franz.  A  Magdalene. 
Madonna  and  Bambino. 

Engraver,  AUB*ERT,  Michel.     S.  Francis;  arched. 

Engraver,  AUDRAN,  Gerard.     The  Magdalene  ;  half-length. 

Engraver,  AUDRAN,  Benoit.     The  Rape  of  Dejanira. 

Engraver,  AUDRAN,  John.  S.  Andrew  led  to  Crucifixion.  The 
Martyrdom  of  S.  Peter. 

Engraver,  BAILLU.     S.  Michael  vanquishing  Satan. 

Engraver,  BAUSE,  John  Frederick.  Artemisa.  The  Head  of 
Christ. 

Engraver,  BELLA,  Stefano  della.  Three  Children  carrying  a  Pla- 
teau. 

Engraver,  BERNARD,  Samuel.     The  Flight  into  Egypt. 

Engraver,  BOLOGNINI,  Gio.  Batista.  The  Murder  of  the  Inno- 
cents. S.  Peter  made  Pope.  The  Crucifixion,  after  the  picture  of 
the  Capuchins  at  Bologna.  Bacchus  and  Ariadne ;  in  three  sheets. 

Engraver,  BOULANGER,  John.  The  Virgin,  with  the  Child  asleep. 
The  Virgin  and  Child,  with  S.  John  kissing  his  Foot. 

Engraver,  BOULLONGNE,  Louis.     The  Rape  of  Helen. 

Engraver,  CANTARINI,  Simone.  Fortune  with  her  Foot  on  a 
Globe;  G.  Renus  in.  fy  fee. 

Engraver,  CANUTI,  Domenico  Maria.  S.  Francis  praying;  Dom. 
Ma.  Canuti,fec. 

Engraver,  CESI  or  CESIO,  Carlo.  S.  Andrew  led  to  Martyrdom, 
prostrating  himself  before  the  Cross. 

Engraver,  CHEREAU,  Francois.     The  Crucifixion. 

Engraver,  CORIOLANO,  Bartolommeo.  S.  Jerome  meditating  before 
a  Crucifix.  Herodias  with  the  Head  of  S.  John.  The  Virgin,  with 
the  Child  asleep.  The  same  subject  in  chiaro-scuro ;  very  fine. 

Engraver,  CORIOLANO,  Gio.  Batista.  The  miraculous  Image  of 
the  Virgin,  painted  by  S.  Luke,  held  by  three  Angels.  Cupid  sleep- 
ing; in  chiaro-scuro. 

Engraver,  CUNEGO,  Domenico.     A  Head  of  Magdalene. 

Engraver,  DAVID,  Jerome.     The  Virgin  of  the  Rosary;  1633. 

Engraver,  DUFLOS,  Claude.     Bust  of  the  Virgin. 

Engraver,  DUPUIS,  Nicholas  Gabriel.     The  Death  of  Lucretia. 

Engraver,  EARLOM,  Richard.  Cupid  bound.  Simeon  receiving 
the  Infant  Jesus. 

Engraver,  EDELINCK,  Gerard.  The  Virgin  sewing,  with  the 
Child  asleep  in  a  Cradle  surrounded  by  Angels,  called  "  La  Couseuse ; " 
fine. 

Engraver,  FAUCCI,  Carlo.     Cupid. 


500  RENL 

Engraver,  FRET,  James.  The  Archangel  Michael.  The  Four 
Fathers  of  the  Church.  Aurora  ;  in  two  sheets.  Bacchus  consoling 
Ariadne,  after  the  departure  of  Theseus. 

Engraver,  FREZZA,  Gio.  Girolamo.  The  Descent  of  the  Holy 
Ghost;  scarce. 

Engraver,  GREGORI,  Ferdinando.  Venus  sleeping.  S.Sebastian; 
half-length. 

Engraver,  KASSEL,  Theodore.     Susanna  and  the  Elders. 

Engraver,  LORENZI,  Fra  Antonio.  S.  Domenic  taken  up  to 
Heaven. 

Engraver,  MICHEL,  John  Baptist.     Adoration  of  the  Shepherds. 

Engraver,  MORGHEN,  Raphael.  S.  John  in  the  Wilderness.  The 
Aurora. 

Engraver,  NICOLET,  Benedict  Alphonsius.     S.  Apollonia. 

Engraver,  PASQUALINI,  Gio.  Batista.     The  Aurora. 

Engraver,  PICART,  Stephen.     The  Birth  of  the  Virgin. 

Engraver,  POILLY,  Francis  the  Elder.  Flight  into  Egypt.  The 
Adoration  of  the  Shepherds;  in  an  octagonal  border.  Christ  in 
Gethsemane. 

Engraver,  PREISLER,  John  Martin.  David  and  Abigail.  Semir- 
amis  putting  the  Crown  of  Ninus  on  her  Head. 

Engraver,  RAVENET,  Simon  Francis.     Painting  and  Design. 

His  own  Plates. 

The  Bust  of  Pope  Paul  V. ;  Paulus  V.  Pont.  opt.  max. 

The  Holy  Family,  the  Virgin  seated  with  her  Face  toward  the 
Child. 

The  Virgin  with  the  Child  asleep  on  her  Breast;  engraved  in  three 
different  manners. 

The  Virgin  embracing  the  Child,  and  holding  a  Book  in  her  Hand. 

The  Virgin  with  the  Child  giving  his  Hand  to  S.  John. 

The  Holy  Family,  with  two  Angels  scattering  Flowers;  engraved 
in  four  different  manners. 

S.  Christopher  bearing  Christ  on  his  Shoulders. 

S.  Jerome  praying  in  a  Cave,  with  a  Book  and  Crucifix. 

The  Virgin  seated  in  the  Clouds  with  SS.  George,  Francis,  Law- 
rence, and  others. 

Bartsch  describes  sixty  etchings  by  Guido. 

Engraver,  ROUSSELLET,  Guido.  The  Annunciation.  Four  plates 
representing  three  of  the  Labors  of  Hercules,  and  his  Death. 

Engraver,  SCHULZE,  John  Gottfried.     The  Ecce  Homo. 

Engraver,  SHARP,  William.  The  Doctors  of  the  Church.  Ecce 
Homo. 

Engraver,  SIRANI,  Gio.  Andrea.     A  Sibyl. 

Engraver,  STRANGE,  Sir  Robert.    Penitent  Magdalene  ;  1762  and 


DAVID   AND   HEAD   OF  GOLIAH. 


RENI  —  REYNOLDS.  501 

1773.  The  Death  of  Cleopatra;  1777.  Fortune  flying  over  a  Globe; 
1 7 78.  Venus  attired  by  the  Graces ;  1759.  The  Chastity  of  Joseph ; 
1 769.  The  Holy  Virgin  ;  1 756  (?).  The  Angel  of  the  Annnuciation ; 
1756(?).  The  Annunciation;  1787  (?).  The  Offspring  of  Love; 
from  the  Coll.  of  the  Marquis  of  Westminster;  1766  (?).  The  Mag- 
dalene; 1753.  Death  of  Cleopatra;  1753.  Cupid  sleeping  ;  1766  (V). 
Liberality  and  Modesty;  1755. 

Engraver,  TORRE,  Flaminio.  The  Patron  Saints  of  Bologna.  The 
Virgin  and  Patron  Saints  of  Bologna ;  very  rare.  Samson. 

Engraver,  TRABALLESI,  Giulio.     The  Circumcision. 

Engraver,  VAILLANT,  Wallerant.     Judith. 

Engraver,  VALET,  William.     The  Holy  Family. 

Engraver,  VALK  or  VALCK,  Gerard.     Cupid  asleep. 

Engraver,  VISSCHER,  Cornelius.     Susanna  and  the  Elders. 

Retzsch,  Friedrich  August  Moritz,  born  at  Dresden  (1779- 
1859).  This  artist  is  best  known  for  his  engravings  illustrative  of 
the  works  of  Goethe,  Schiller,  and  Shakespeare.  He  was  a  true 
lover  of  nature,  and  would  much  sooner  roam  the  woods  with 
dog  and  gun,  than  be  employed  in  any  ordinary  pursuit.  His  friends 
urged  him  to  enter  the  Acad.  of  Dresden,  and  after  he  had  acquired 
the  mechanical  knowledge  necessary,  the  wild,  poetic  word- pictures 
of  the  above-named  writers  seemed  to  be  the  inspiration  he  required 
to  bring  out  all  his  powers.  He  was  an  original  and  poetic  artist. 

Reynolds,  Sir  Joshua,  born  at  Plympton  in  Devonshire,  1723; 
died  in  1792.  When  quite  young  he  displayed  such  a  talent  for 
drawing,  and  made  likenesses  of  his  relatives  and  friends  with  such 
success,  that,  in  1740,  his  father  sent  him  to  London  to  study  with 
Mr.  Hudson,  a  portrait-painter.  He  remained  with  him  three  years, 
in  which  time  his  ability  had  so  excited  the  jealousy  of  his  teacher 
as  to  render  his  situation  unpleasant.  He  returned  to  Devonshire, 
and,  after  a  time,  established  himself  at  Plymouth  Dock.  In  1 749, 
by  invitation  of  Captain  Keppel,  he  sailed  for  Leghorn,  and  from 
there  proceeded  to  Rome.  He  was  three  years  in  Florence,  Venice, 
etc.  All  this  time  he  studied  carefully  the  works  of  the  great 
masters.  Soon  after  his  return  to  England,  he  was  acknowledged 
to  be  the  best  painter  in  that  country  since  the  days  of  Vandyck.  In 
1768  he  was  made  President  of  the  Royal  Acad.,  and  soon  after  the 
King  bestowed  on  him  the  honor  of  knighthood.  Although  it  was  not 
a  part  of  his  duty  to  read  lectures  to  the  academy,  he  continued  to  do 
so  until  1790,  when  he  took  his  leave.  During  these  years  he  also 
sent  244  pictures  to  the  various  exhibitions.  In  1781  and  in  1783 
he  made  excursions  to  the  Netherlands  and  Holland.  In  1784 
he  exhibited  his  celebrated  portrait  of  Mrs.  Siddons.  In  1 786  he 
was  commissioned  to  paint  a  picture  for  the  Empress  of  Russia,  the 
subject,  size,  and  price  being  left  to  his  own  decision.  He  painted 
the  "Infant  Hercules  strangling  the  Serpent."  When  Alderman 


502 


REYNOLDS. 


Boydell  undertook  to  establish  his  Shakespeare  Gall.,  Sir  Joshua 
chose  three  subjects  for  himself,  the  "  Death  of  Cardinal  Beaufort," 
"  Macbeth  with  the  Witches,"  and  "  Puck,"  which  last  is  one  of  his 
happiest  efforts.  In  1782  he  experienced  a  slight  shock  of  paralysis, 
but  was  afterwards  quite  well  until  1789,  when  his  sight  was  so 
defective  that  he  feared  he  might  become  blind,  and  from  this  time 
relinquished  the  use  of  the  brush.  He  was  sick  about  three  months 
before  his  death,  and  died  on  the  23d  of  February,  1792.  His 
remains,  after  lying  in  state  at  the  Royal  Acad.,  were  buried  at  St, 
Paul's,  near  the  tomb  of  Sir  Christopher  Wren.  As  a  portrait 
painter,  and  particularly  as  a  painter  of  children,  he  is  almost  un- 
equalled, but  in  historical  or  poetical  compositions  he  falls  far  below 
the  standard  of  excellence.  It  was  his  custom  to  receive  six  sitters 
daily.  He  kept  a  list  of  those  who  were  sitting,  and  of  those  who 
were  waiting  for  an  opportunity  to  be  painted.  He  kept  prints 
engraved  from  his  portraits  and  sketches  in  a  large  portfolio,  and 
submitted  it  to  his  sitters.  When  they  had  chosen  the  position  which 
they  wished,  he  copied  it  on  the  canvas,  and  painted  the  likeness  to 
correspond.  At  the  height  of  his  success  he  was  accustomed  to  paint 
a  portrait  in  four  hours.  His  sitters'  chairs  moved  on  casters,  and 
were  raised  a  foot  and  a  half  above  the  floor.  He  worked  standing, 
with  great  rapidity,  and  used  brushes  with  handles  eighteen  inches 

long.  His  sister  pre- 
sided over  his  house- 
hold, and  he  lived  gen- 
erously, receiving  com- 
pany to  dinner  almost 
daily,  and  among  his 
visitors  were  the  best 
men  of  the  time.  His 
friendship  for  Dr.  John- 
son continued  through 
life.  Percy,  Goldsmith, 
Garrick,and  the  Burkes 
were  frequently  his 
guests.  The  day  be- 
fore Johnson  died  he 
said,  "  I  have  three 
requests  to  make,  and 
I  beg  that  you  will 
attend  to  them,  Sir 
Joshua :  forgive  me  £30 
which  I  borrowed  of 

LEAR.      A  STUDY.      BY  SIR  JOSHUA   REYNOLDS.  ,        ,          0      . 

you,   read    the    ocnp- 

tures,  and  abstain  from  using  your  pencil  on  the  Sabbath  Day." 
Sir  Joshua  made  and  remembered  these  promises.  Reynolds  waa 


REYNOLDS.  503 

very  skilful  in  compliments.  He  painted  his  name  on  the  oorder  of 
Mrs.  Siddons'  garment,  in  her  picture  as  «*  The  Tragic  Muse."  The 
actress  went  near  to  examine  it,  and,  seeing  the  name,  smiled.  Sir 
Joshua  bowed  and  said,  "  I  could  not  lose  the  opportunity  of  sending 
my  name  to  posterity  on  the  hem  of  your  garment."  He  placed  great 
value  upon  old  pictures,  and  said  of  Titian,  "  To  possess  a  really  fine 
picture  by  that  great  master,  I  would  sell  all  my  gallery,  —  I  would 
willingly  ruin  myself."  In  his  eulogy  on  Reynolds,  Burke  says,  "  In 
full  affluence  of  foreign  and  domestic  fame,  admired  by  the  expert  in 
art  and  by  the  learned  in  science,  courted  by  the  great,  caressed  by 
sovereign  powers,  and  celebrated  by  distinguished  poets,  his  native 
humility,  modesty,  and  candor  never  forsook  him,  even  on  surprise 
or  provocation  ;  nor  was  the  least  degree  of  arrogance  or  assumption 
visible  to  the  most  scrutinizing  eye  in  any  part  of  his  conduct  or  dis- 
course." Good  prints  of  the  pictures  of  Sir  Joshua  Reynolds  were 
made  by  many  contemporary  engravers,  but  fine  impressions,  and 
especially  proofs,  are  becoming  rare.  Among  the  best  are  the  follow- 
ing:— 

ENGRAVINGS  AFTER  THE  WORKS  OF  REYNOLDS. 

Engraver,  ARDELL,  James  Me.  Earl  of  Bath.  Admiral  Boscawen. 
Mrs.  Bastard.  Duchess  of  Buccleugh.  Lady  E.  Montague.  Horace 
Walpole. 

Engraver,  DOUGHTY,  William.     Dr.  Johnson. 

Engraver,  DICKENSON,  W.  Sir  Joseph  Banks.  Lady  Crosby. 
Mrs.  Mathcw.  Mrs.  Pelham  feeding  Chickens.  Bishop  Percy. 

Engraver,  DIXON,  John.  Mrs.  Blake  as  Juno.  Duke  of  Leinster; 
1775.  Dr.  Robertson.  Ugolino. 

Hixjmver,  FISHER,  Edward.  Lady  Sarah  Bunbury;  full  length, 
very  fine.  Garrick  between  Train-dy  and  Comedy.  Admiral  Keppel. 
Lord  Ligonier.  Miss  Palmer  as  Hope  nursing  Love.  Marquis  of 
Rockingham. 

H tit/racer,  GREEN,  Valentine.  Duke  of  Bedford,  with  his  Brothers 
and  Miss  Vernon.  Sir  W.  Chambers.  Sir  J.  Reynolds,  as  President 
of  the  Royal  Acad.  Marchioness  of  Salisbury.  Three  Ladies  Wal- 
degrave. 

Engraver,  HA  WARD.  Mrs.  Siddons.  Prince  of  Wales,  leaning  on 
his  Horse. 

Engraver,  HOUSTON,  Richard.  Marquis  of  Granby.  Duchess  of 
Ancaster.  Francis  Charteris. 

Engraver,  JONES,  J.  Boswell.  Erskine.  Fox.  Sir  Abraham 
Hume. 

Engraver,  MARCHI,  G.  Goldsmith.  Mrs.  Crewe  and  Mrs.  Bou- 
verie. 

Engraver,  SHARP,  William.  John  Hunter.  The  Holy  Family; 
two  plates,  one  large  and  one  small. 

Engraver,  SHERWIN,  John  Keyse.     The  Fortune  Teller. 


504  REYNOLDS  —  RIBERA. 

Engraver,  SMITH,  John  Raphael.  Lord  R.  Cavendish.  Mr.  Dun- 
das.  Mrs.  Musters.  Duke  of  Orleans.  Archbishop  of  Armagh. 
Banished  Lord. 

Engraver,  WATSON,  Thomas.  Lady  Bampfylde.  Mrs.  Crewe. 
Lord  Errol.  Lady  Melbourne  and  her  Son.  Bishop  Newton. 
Resignation. 

Engraver,  WATSON,  James.  Lord  Amherst.  Mrs.  Abington. 
Dr.  Beattie.  Edmund  Burke.  Dr.  Hawkesworth.  Dr.  Johnson. 
Duchess  of  Marlborough  and  her  Daughter.  Countess  of  Walde- 
grave. 

Reynolds,  Samuel  William  (1774-1835).  This  celebrated 
mezzotinto  engraver  executed  no  less  than  300  plates  after  the  works 
of  Sir  Joshua  Reynolds,  besides  numerous  portraits  and  historical 
subjects  after  other  masters,  almost  entirely  modern  painters.  He  was 
skilful  as  a  designer  of  landscapes,  and  made  some  sketches  in  oil. 

Ribalta,  Francisco,  born  at  Castellon  de  la  Plana  (1551-1628). 
This  artist  is  the  head  of  the  school  of  Valencia,  and  one  of  the  best 
historical  painters  of  Spain.  He  first  studied  in  the  city  of  Valencia, 
where  he  fell  in  love  with  the  daughter  of  his  master ;  her  hand  was 
refused  him  by  the  father,  but  the  young  couple  parted  with  mutual 
vows  of  constancy.  He  spent  several  years  in  Italy,  and  when  he 
again  went  to  Valencia  had  no  difficulty  in  obtaining  his  bride.  He 
has  been  compared  as  an  artist  with  Domenichino.  The  Spanish 
painters  were  given  to  the  representations  of  extremes;  either  ex- 
cruciating agonies  or  transporting  ecstasies  were  most  frequently 
their  subjects;  they  seem  not  to  have  had  as  much  middle  ground  as 
other  nations.  Ribalta  is  no  exception  to  this  rule.  Valencia  is 
richer  than  any  other  place  in  his  works;  many  of  them  are  in  the 
Colegio  Patriarca,  in  a  chapel,  where  his  "  Last  Supper  "  plays  an 
important  part  in  the  ceremonies  of  Corpus  Christi.  His  "  Nailing 
to  the  Cross  "  shows  plainly  its  superiority  to  its  surroundings  in  the 
Museo.  Another  famous  work  of  his,  also  in  the  Colegio,  is  S. 
Vicente  de  Ferrer  on  his  sick-bed  visited  by  the  Saviour  and  several 
saints.  There  is  a  picture  by  Ribalta  in  the  chapel  of  Magdalene 
College,  Oxford.  He  painted  many  fine  portraits  of  the  prominent 
persons  of  Valencia.  Out  of  Spain  his  works  are  very  scarce. 

Ribalta,  Juan  de,  born  at  Valencia  (1597-1628).  Son  of  Fran- 
cisco. They  died  the  same  year.  Juan  gave  proof  of  his  powers  at 
eighteen,  when  he  painted  the  "  Crucifixion"  now  in  the  Mus.  of 
his  native  city.  There  is  confusion  concerning  the  separation  of  the 
works  of  the  father  and  son.  Juan  painted  more  than  thirty  por- 
traits of  the  notables  of  Valencia  for  Don  Diego  de  Vich,  who  gave 
them  to  the  convent  of  S.  Jerome.  There  is  a  work  of  his  in  the 
Dresden  Gall,  representing  Pope  Gregory  XV.  surrounded  by  Car- 
dinals. 

Ribera,  Josef  de,  called  II   Spagnoletto,  born  at  Xativa,  1588; 


RIBERA.  505 

died  at  Naples,  1656.  His  parents  placed  him  at  the  University  of 
Valencia  to  study  a  profession,  but  he,  following  his  inclination, 
entered  the  school  of  Francisco  Ribalta.  It  is  said  that  his  earliest 
works  were  noticed  for  their  excellence.  He  was  at  Rome  when 
very  young,  living  in  extreme  poverty.  Clothed  in  rags,  he  lived  on 
crusts,  and  spent  his  time  in  copying  the  frescoes  he  could  see  in  the 
streets.  He  arrested  the  attention  of  a  Cardinal  who  took  him  home 
and  provided  for  his  comfort.  But  Ribera  found  himself  less  inclined 
to  work  than  before,  and  soon  returned  to  his  life  in  the  street. 
The  Cardinal,  angry  at  this,  called  him  an  ungrateful  little  Spaniard, 
and  invited  him  to  return  to  his  house.  When  Ribera  declared  that 
he  needed  the  spur  of  poverty  to  make  him  a  good  artist,  the  Cardi- 
nal admired  his  resolution,  and  the  story  being  repeated  attracted 
the  attention  of  other  artists  to  him,  and  he  was  called  II  Spagnoletto. 
He  imitated  the  works  of  Caravaggio,  and  carefully  studied  those  of 
Raphael  and  the  Carracci.  He  likewise  visited  Parma  and  Modena, 
and  some  of  his  works  show  the  effect  of  the  study  of  Correggio,  for 
which  he  there  had  an  opportunity.  He  quarrelled  with  Domenichino 
at  Rome,  and  at  length  removed  to  Naples.  Here,  for  a  time,  he 
studied  with  Caravaggio.  A  rich  picture  dealer,  who  employed  him, 
so  admired  his  genius  that  he  offered  him  his  daughter  in  marriage. 
Ribera  accepted,  but  ease  and  prosperity  seemed  now  to  stimulate, 
rather  than  hinder,  his  exertions.  He  chose  the  most  painful  sub- 
jects, and  depicted  them  with  a  horrible  reality.  His  "  Flaying  of 
S.  Bartholomew"  attracted  the  attention  of  the  Viceroy  Don  Pedro 
Giron-,  who  appointed  Ribera  court  painter.  The  Neapolitan  artists 
were  much  chagrined  at  the  advance  of  the  Spaniard,  and  began  to 
court  his  favor  as  much  as  they  had  before  derided  him.  He  entered 
into  a  conspiracy  with  Belisario  Corcnzio  and  Gianbattista  Caracciolo, 
by  which  they  prevented  die  employment  of  other  artists  to  paint  the 
chapel  of  S.  Januarius.  They  used  fraud,  violence,  and  even  murder, 
and  drove  away  the  Cavaliere  D'Arpino,  Guido,  Gessi,  and,  finally, 
Domenichino.  After  all  this  Ribera  painted  but  a  single  altar-piece. 
His  two  companions  died,  and  the  chapel  was  finished  by  Lanfranco. 
The  Neapolitans  have  a  tradition  that  Don  Juan  of  Austria,  when  in 
Naples  in  1648,  met  the  daughter  of  Ribera,  admired  her  beauty,  and 
carried  her  to  Sicily.  He  afterwards  forsook  her,  and  she  entered  a 
convent  at  Palermo.  Ribera  and  his  wife,  not  able  to  survive  this 
disgrace,  disappeared  from  Naples,  and  his  end  was  unknown.  But 
Cean  Bermudez  declares  that  in  1630  he  was  made  a  member  of  the 
Acad.  of  S.  Luke,  that  in  1644  Innocent  X.  sent  him  the  cross  of  the 
Order  of  Christ,  and  he  lived  in  elegance  and  respectability  at 
Naples,  and  died  in  the  midst  of  riches  and  honor.  Few  Italian  ar- 
tists were  better  known  in  their  own  country,  and  his  pictures  were 
very  popular.  He  painted  immense  numbers,  many  of  which  were 
sent  to  Spain.  His  works  are  now  familiar  to  all  Europe,  from 


506  RIBERA  —  RICCIO. 

Madrid  to  St.  Petersburg.  His  best  point  was  in  the  delineation  of 
anatomy.  His  pictures  now  in  the  Queen  of  Spain's  Gall,  are  u  S» 
Bartholomew,"  before  mentioned;  "  Ixion  on  the  Wheel;  "  "  Jacob's 
Dream,"  etc.  At  the  Escorial  there  is  a  picture  of  "  Jacob  watering 
the  Flock  of  Laban;  "  in  the  Cath.  of  Valencia,  an  "  Adoration  of 
the  Shepherds;"  and  at  the  Louvre,  a  frightful  representation  of 
Cato  of  Utica.  He  painted  many  portraits,  which  are  scattered 
through  the  collections  of  Europe.  He  also  left  about  twenty  etch- 
ings which  Bartsch  reckons  among  the  most  remarkable  engravings 
in  aqua-fortis.  The  following  are  his  principal  plates  :  — 

The  Martyrdom  of  S.  Bartholomew. 

The  Penitence  of  S.  Peter. 

The  Dead  Christ  extended  on  a  Linen  Cloth. 

S.  Jerome,  with  an  Angel  blowing  a  Trumpet. 

S.  Jerome  reading,  with  a  Skull  on  the  Ground. 

Bacchus  made  drunk  by  Satyrs. 

Portrait  of  Don  John  of  Austria  on  Horseback. 

ENGRAVINGS    AFTER    THE    WORKS    OF    SPAGNOLETTO  (RIBERA). 

Engraver,  AMETLLE'R,  Bias.     S.  Gregory  performing  a  Miracle. 

Engraver,  BALESTRA,  Gio.     Archimedes. 

Engraver,  DAULLE'E,  Jean.     Diogenes  with  the  Lantern. 

Engraver,  FISCHER,  Joseph.     Christ  with  the  Doctors. 

Engraver,  FORKE,  Simon.     Jacob  tending  Laban's  Flock. 

Engraver,  INGOUF,  Fra^ois  Robert.     Adoration  of  the  Shepherds. 

Engraver,  Louis,  Aristide.     Mater  Dolorosa. 

Engraver,  PITTERI,  Gio.  Marco.     S.  Peter  delivered  from  Prison. 

Ricci,  Antonio,  called  Barbalunga,  born  at  Messina  (1600-1649). 
A  pupil  of  Domenichino.  He  is  one  of  the  best  painters  of  Sicily, 
and  founded  a  school  at  Messina  after  he  returned  from  Rome. 

Ricci,  Sebastiano,  born  at  Belluno  (1659-1734).  A  decorative 
painter  who  executed  many  works  in  England  in  the  days  of  Queen 
Anne.  He  was  a  feeble  imitator  of  Paul  Veronese. 

Ricci,  Marco,  born  at  Belluno  (1680-1730).  Nephew  of  the  pre- 
ceding. He  painted  landscapes  in  the  manner  of  Titian,  and  also 
etched  several  plates  from  his  own  designs. 

Ricciarelli.     See  Volterra. 

Riccio,  Andrea,  real  name  Briosco,  called  Riccio  from  his  curly 
hair  (1480-1532).  His  manner  of  sculpture  was  grotesque  and  ex- 
travagant. His  works  were  overloaded  with  ornament  and  detail 
until  the  design  was  lost  in  the  mass.  His  chief  works  were  two  re- 
liefs from  the  life  of  David,  in  the  choir  screen  of  S.  Antonio  of 
Padua ;  the  famous  candelabrum,  eleven  feet  high,  in  the  same 
church ;  a  monument  to  two  physicians  of  the  Delia  Torro  family  of 
Padua,  and  four  bronze  reliefs  in  the  Acad.  of  Venice,  which  seem  to 
belong  to  his  early  period. 


RICCIO  —  RIETSCHEL.  507 

Riccio,  Domenico,  called  Brusasorci.  Born  at  Verona  (1494- 
1567).  He  has  been  called  the  Titian  of  Verona,  but  he  was  no 
more  than  a  mediocre  painter.  His  best  works  are  in  his  native  city, 
where  they  are  much  valued.  His  son,  Felice  (1540-1605),  was  fond 
of  painting  on  marble,  which  he  did  with  great  skill.  His  pictures 
on  oriental  alabaster  were  especially  pleasing. 

Ridolfi,  Cavaliere  Carlo,  born  at  Vicenza  (1602-1660?).  This 
artist  is  better  known  for  his  writings  than  his  pictures.  He  has 
been  called  the  "  Venetian  Vasari,"  and  was  the  principal  authority 
concerning  Venetian  artists  down  to  his  own  time.  He  was  less 
mannered  in  his  painting  than  most  of  his  contemporaries.  The 
"  Visitation,"  in  the  ch.  of  the  Ognissanti,  in  Venice,  is  his  chef- 
d'oeuvre.  He  also  painted  many  portraits. 

Riemenschneider,  Tilman,  born  at  Osterode  in  the  Harz  Moun- 
tains, probably  about  1460.  He  went  to  Wiirzburg,  where  he  rose  to 
the  rank  of  head  Burgomaster  in  1520.  In  1525,  after  the  Peasant's 
War,  he  was  deprived  of  his  office,  and  until  his  death  in  1531,  he 
lived  in  retirement.  His  works  in  sculpture  are  numerous,  and  the 
major  part  of  them  are  in  Wiirzburg  and  its  immediate  vicinity. 
The  monument  of  the  Knight  Eberhard  von  Grumbach,  in  the  ch.  at 
Bimpar,  was  probably  his  earliest  work.  In  1495  he  was  commis- 
sioned to  execute  for  Bamberg  Cath.  a  magnificent  monument  to 
the  Emperor  Heinrich  II.  and  his  consort  Kunigunde.  This  was  not 
completed  until  1513,  and  is  one  of  his  principal  works.  The  figures 
of  the  Emperor  and  Empress  lie  on  a  large  sarcophagus;  they  are 
more  than  life-size,  are  good  portraits,  and  furnish  an  excellent  rep- 
resentation of  the  fantastic  15th  century  costume.  Upon  the  sarcoph- 
agus five  scenes  from  the  lives  of  the  imperial  pair  are  depicted  with 
great  attention  to  technical  execution ;  the  figures  are  also  graceful, 
but  there  is  a  lack  of  dramatic  life  and  free  action.  We  have  not 
space  for  a  list  of  his  works,  which  embrace  many  monuments  and 
religious  subjects.  A  haut-relief  representing  the  "  Lamentation 
over  the  Dead  Christ,"  in  the  ch.  at  Maidbrunn,  is  probably  his  latest 
work.  It  is  executed  in  sandstone.  The  Nicodemus  is  believed  to 
be  his  own  portrait. 

Rietschel,  Ernst  (1804-1860).  A  pupil  of  Ranch.  He  went  to 
Rome,  and  settled  in  Dresden  after  his  return.  He  executed  the 
statue  of  King  Friedrich  August  of  Saxony  for  the  Zwingerhof  at 
Dresden,  when  but  twenty-seven  years  old.  His  chief  excellence  was 
(like  his  master)  that  of  the  delineation  of  character  in  portrait 
statues.  Those  of  Lessing,  at  Brunswick,  Luther,  at  Worms,  and 
Goethe  and  Schiller,  at  Weimar,  are  of  the  highest  type  of  this 
branch  of  sculpture;  that  of  Weber,  at  Dresden,  is  also  admirable  in 
its  delicate  simplicity.  The  group  of  the  "  Virgin  and  Dead  Christ," 
which  he  executed  for  the  Friedenskirche  at  Sans  Souci,  is  a  beau- 
tiful expression  of  the  deep  religious  feeling  of  this  master.  His 


508  RIETSCHEL  —  RIZI. 

smaller  representations  of  mythical  subjects,  and  his  reliefs,  are  full 
of  charming  grace.  Of  his  statues  of  Luther  and  Lessing,  Liibke 
says,  he  "  has  produced  with  imperishable  power,  in  monumental 
form,  the  intellectual  and  moral  ideals  of  the  nation,  in  the  persons 
of  their  noblest  representatives." 

Rietschoof,  Jan  Claasze,  born  at  Hoorn  (1652-1719).  A  pupil 
of  Backhuysen,  whose  style  he  imitated  with  success.  Though  infe- 
rior to  his  master  he  ranks  high  among  the  second  class  of  painters 
of  the  Dutch  school.  Two  of  his  pictures,  one  a  calm,  and  one  a 
stormy  sea,  are  in  the  Amsterdam  Mus. 

Rigaud,  Hyacinthe,  born  at  Perpignan  (1659-1743).  The  most 
distinguished  French  portrait  painter  of  his  time.  He  often  portrayed 
the  King,  Louis  XIV.,  and  had  many  of  the  illustrious  personages  of 
Europe  for  his  sitters.  In  his  day  the  French  Acad.  did  not  recog- 
nize portrait  painters,  and  Rigaud  was  admitted  as  a  special  honor, 
submitting  only  a  sketch  of  the  Crucifixion.  His  pictures  are  too 
uniformly  finished,  and  lack  freedom  of  handling.  He  was  unfortu- 
nate in  the  costume  of  his  time ;  if  he  could  have  painted  nature  in- 
stead of  perukes,  his  works  would  certainly  be  more  pleasing  now. 
They  are  numbered  by  hundreds. 

Riley,  John,  born  in  London  (1646-1691).  A  good  portrait 
painter,  and  one  of  the  best  in  England  at  the  time  of  his  death.  He 
was  very  modest;  Walpole  says  he  might  have  made  a  great  name, 
had  he  possessed  one  quarter  as  much  vanity  as  Kneller.  His  por- 
traits of  the  Lord  Keeper  North  at  Wroxton  Abbey,  of  Bishop  Bur- 
net,  and  of  Dr.  Busby,  were  among  his  best  works. 

Rincon,  Antonio  del,  born  at  Guadalaxara  (about-  1446-1500). 
The  first  Spanish  painter  of  distinction.  It  is  believed  that  he  studied 
in  Italy.  He  painted  the  portraits  of  Ferdinand  and  Isabella  the 
Catholic,  but  these  works  are  now  known  only  by  copies.  His  prin- 
cipal remaining  pictures  are  seventeen  compositions  of  the  Life  of  the 
Virgin;  these  are  in  the  ch.  of  Robledo  de  Chavela,  near  the  Escc- 
rial,  as  one  goes  from  Madrid  to  Avila. 

Rizi,  Fray  Juan,  born  at  Madrid,  1595 ;  died  at  Rome,  1675. 
Son  of  Antonio  Rizi  of  Bologna.  His  mother  was  a  Spanish  woman. 
Pupil  of  Mayno.  He  was  early  distinguished,  and  painted  six  pic- 
tures of  the  Passion  of  Christ,  and  Martyrdoms  of  Saints,  for  the 
convent  of  Mercy.  In  1626  he  took  the  cowl  of  S.  Benedict  at  the 
monastery  of  Monserrate.  The  next  year  he  went  to  study  theology 
at  the  College  of  San  Vicente,  at  Salamanca.  One  hundred  ducats 
were  required  yearly  from  each  student.  The  Abbot  refused  to  re- 
ceive Rizi  for  want  of  the  money,  but  at  length  allowed  him  two  days 
in  which  to  obtain  it.  In  that  time  he  painted  a  "  Crucifixion," 
which  relieved  him  of  his  difficulty,  and  he  continued  to  pay  for  his 
education  by  means  of  his  brush.  He  returned  to  his  convent,  where 
he  held  several  offices,  and  was  at  last  made  Abbot  of  Medina  del 


— ROBBIA.  509 

Campo.  His  fame  was  so  great  that  all  the  houses  of  his  order 
wished  for  him  as  an  inmate.  For  his  brethren  at  Burgos  he  did 
some  of  his  best  works.  He  painted  there  a  picture  of  "  S.  Scolastica 
reading."  It  was  a  portrait  of  a  young  girl  whose  dower  as  a  nun 
Rizi  paid  with  the  price  of  his  labors.  His  fame  reached  even  to 
Rome,  in  which  city  he  entered  the  famous  convent  of  Monte  Cas- 
sino.  The  Pope  wished  to  see  him,  and  made  him  a  Bishop,  but  he 
died  before  taking  possession  of  his  crozier.  In  the  Queen  of  Spain's 
Gall,  is  a  picture  by  Rizi  of  "  S.  Francis  receiving  the  Stigmata." 

Rizi,  Francisco,  born  at  Madrid  (1608-1685).  Pupil  of  Vincenzo 
Carducho.  We  have  no  account  of  his  early  works.  On  account  of 
a  picture  he  had  painted  of  the  Cath.  of  Toledo,  he  was  appointed  to 
the  office  of  its  painter  in  1653.  In  1656  he  was  appointed  one  of  the 
painters  of  Philip  IV.,  and  Charles  IE.  gave  him  the  key  of  deputy- 
aposentador  as  a  reward  for  the  "  Fable  of  Pandora,"  which  he  had 
painted  in  the  Hall  of  Mirrors  in  the  Alcazar.  In  1684  Charles  II. 
employed  him  to  make  a  design  for  a  new  altar,  to  be  dedicated  to 
the  relic  at  the  Escorial,  known  as  the  Santa  Forma.  This  was  a 
sacramental  wafer  which,  according  to  its  legend,  was  dashed  by 
heretics  from  the  high-altar  of  the  Cath.  of  Gorcum,  and  trodden 
under  foot.  By  this  means  three  rents  were  produced,  from  which 
drops  of  blood  issued.  One  of  the  heretics  was  converted  by  the 
sight,  and,  together  with  the  Dean  of  Gorcum,  he  carried  it  to  a 
convent  at  Mechlin.  It  was  afterwards  taken  to  Vienna  and  Prague, 
and  in  1592  sent  as  a  present  to  Philip  H.  Since  that  time,  on  fes- 
tival days,  it  has  been  shown,  stained  with  the  blood,  "  to  the  com- 
fort of  Catholic  believers,  and  to  the  confusion  of  their  adversaries." 
Rizi  designed  the  altar,  which  was  finished  under  his  superintend- 
ence, and  was  making  a  sketch  for  a  picture  to  be  placed  above  it  when 
he  died;  it  was  finished  by  his  pupil,  Claudio  Coello.  Many  of  his 
pictures  exist  in  the  churches  of  Madrid.  The  Royal  Gall,  has  but 
one,  a  portrait  of  an  unknown  Knight.  Many  of  his  works  are  also 
in  the  National  Mus. 

Rizzo,  Antonio.  This  artist  is  first  made  known  to  us  by  the 
monument  to  the  Doge  Francesco  Foscari,  in  the  ch.  of  S.  M.  de' 
Frari,  at  Venice.  He  labored  here  in  1457  with  Pietro  Rizzo,  sup- 
posed to  be  his  father.  A  new  manner  is  foreshadowed  in  this,  which 
is  perfected  into  the  full  Renaissance  style  in  a  second  monument  to 
Doge  Niccolo  Trou  in  the  same  church.  This  is  the  work  of  Anto- 
nio, and  is  an  enormous  labor  in  the  abundance  of  plastic  work. 
There  are  nineteen  colossal  statues,  besides  medallions  and  other  re- 
liefs. The  portrait  statues  are  true  to  life,  though  hard  and  angular 
in  outline.  Antonio  also  executed  marble  statues  of  Adam  and  Eve 
for  the  Doge's  Pal.  about  1471. 

Robbia,  Luca  della,  born  at  Florence  (1400-1481).  This  cele- 
brated sculptor  was  apprenticed  at  an  early  age  to  the  best  goldsmith 


510 


KOBBIA. 


of  Florence ;  but  he  soon  began  to  model  in  wax  with  an  ardor  so 
unusual  that  it  is  surprising  to  find  so  little  remaining  of  the  work 
done  before  he  was  forty-five  years  old.  The  only  memorials  of  that 
time  are  the  bas-reliefs  in  the  side  of  the  Campanile  towards  the 
Duomo,  and  two  unfinished  reliefs  in  the  Uffizi.  The  first  represent 
Music,  Philosophy,  Geometry,  Grammar,  and  Astronomy;  Plato  and 
Aristotle;  Ptolemy  and  Euclid;  and  a  man  playing  the  lute.  The 
unfinished  ones  are  the  Imprisonment  and  Crucifixion  of  S.  Peter. 
In  the  Uffizi  are  also  the  reliefs  made  for  the  balustrade  of  an  organ 
in  the  Duomo.  These  were  undertaken  in  1445,  and  most  decidedly 
establish  his  claim  to  high  rank  among  Italian  sculptors.  They  suf- 


MADONNA    IN   TERRA-COTTA.       BY   LUCA   DELLA   ROBBIA. 

fer  nothing  from  their  present  position,  which  gives  an  opportunity 
for  minute  examination  of  them.  They  represent  youths  dancing, 
singing,  and  playing  on  musical  instruments.  It  has  been  said  that 
Luca  studied  with  Ghiberti,  but  this  needs  confirmation;  he  how- 
ever learned  bronze  casting  from  some  one,  as  he  made  the  doors  of 
the  sacristy  of  the  Duomo.  He  executed  one  of  the  finest  of  the 
many  cinque-cento  tombs  for  the  Bishop  Benozzo  Federighi  of  Fie- 
sole.  A  portion  of  the  decorations  of  this  tomb  were  enamelled  tiles 
painted  with  fruits  and  flowers  in  their  natural  colors.  In  this  en- 
amel painting  Luca  excelled,  and  he  made  it  so  prominent  that  it  has 
been  known  as  Robbia  ware,  but  he  did  not  by  any  means  invent  it, 


ROBBIA  —  RODE.  511 

as  Vasari  says,  for  it  had  been  used  by  the  ancient  nations,  and  from 
time  to  time  by  the  Italians  also.  Luca  made  some  changes  by  color- 
ing his  enamel  for  certain  portions  of  the  backgrounds,  such  as  the 
plants,  draperies,  etc.  He  left  many  of  these  works,  which  are  beau- 
tiful, but  we  cannot  afford  room  to  give  a  list  of  them.  There  are 
twelve  medallions  representing  the  Months,  in  Kensington  Mus.,  sup- 
posed to  have  been  executed  by  Luca  for  the  decoration  of  a  writing 
cabinet  for  Piero  di  Cosimo  de'  Medici.  One  of  the  most  beautiful 
of  all  these  works  of  his  is  the  "  Coronation  of  the  Virgin  "  in  the 
altar-piece  in  the  ch.  of  the  Osservanza  near  Siena.  Andrea,  the 
nephew  of  Luca,  had  worked  much  with  him,  and  by  his  will  shared 
his  property  with  another  nephew,  Simone,  who  was  a  shoemaker. 
After  his  death  his  secret  of  enamelling  was  carefully  guarded  by  his 
family,  and  was  a  fortune  to  them.  They  made  a  system  of  poly- 
chromatic architecture.  Andrea  and  his  son,  Luca  II.,  were  em- 
ployed eleven  years  in  decorating  the  Ceppo  Hospital,  at  Pistoja, 
with  a  frieze  which  represents  the  Seven  Acts  of  Mercy.  The 
effect  of  this  enamel  painting  is  brilliant.  Pope  Leo  X.  employed 
Luca  H.  to  pave  the  Loggie  of  the  Vatican  with  colored  tiles.  Gio- 
vanni and  Girolamo,  brothers  of  Luca  II.,  also  worked  in  Robbia 
ware,  and  the  latter  went  to  France  and  was  much  employed  by 
Francis  I.  in  decorating  his  chateau  de  Madrid,  in  the  Bois  de  Bou- 
logne. 

Robert,  Louis  Leopold,  born  at  Neufchatel  (1794-1835).  This 
artist  excelled  in  depicting  genre  or  real  life  scenes.  His  especial 
want  was  excellence  of  color.  The  sentiment  and  action  of  his  pic- 
tures is  good.  He  is  best  known  by  three  pictures  representing  the 
life  of  Italy  at  the  different  seasons  :  that  of  spring  is  the  "  Fdte  of 
the  Madonna  del  Arco;  "  summer  is  the  "  Reapers  of  the  Pontine 
Marshes  ; "  winter  at  Venice,  the  "  Departure  of  the  Fishermen  of 
the  Adriatic;  "  the  fourth  was  not  finished,  when  he  died  by  his  own 
hand,  sitting  before  his  easel,  in  Venice.  The  spring  and  summer 
scenes  are  in  the  Louvre. 

Robetta,  born  at  Florence  and  flourished  about  1520.  By  some 
critics  he  is  considered  merely  a  goldsmith,  but  his  prints  certainly 
entitle  him  to  a  place  among  the  early  engravers  of  Italy,  of  which 
he  may  be  called  the  last.  He  was  a  member  of  the  club  of  artists 
called  La  Compagnia  del  Pajuola.  About  thirty  prints  remaining 
now  are  attributed  to  him,  and  are  more  valuable  for  their  rarity  than 
any  other  quality. 

Robusti.     See  Tintoretto. 

Rode,  Christian  Bernard,  born  at  Berlin  (1 725-1 797).  The  most 
noted  native  historical  painter  of  the  time  of  Frederick  the  Great. 
He  was  much  employed  in  decorative  works,  by  that  monarch.  His 
ceilings  at  Sans  Souci  are  among  the  best  of  them.  He  also  left  150 
etchings  of  little  value. 


512  ROELAS  —  BOLD  AN. 

Roelas,  Juan  de  las,  born  at  Seville  (1560-1625).  Palomino 
called  Roelas  a  doctor,  for  he  took  a  degree  in  medicine  before  he 
determined  to  become  a  painter  and  went  to  Venice  to  study.  After 
his  return  to  Seville  he  was  constantly  employed,  and  many  works  of 
his  remain  in  that  city.  His  coloring  was  excellent,  his  knowledge 
of  anatomy  perfect,  and  his  composition  good.  The  Royal  Gall,  of 
Madrid  has  but  one  picture  by  him  —  a  small  one,  representing 
Moses  striking  the  Rock  ;  it  is  called  "  The  Calabash,"  from  a  woman 
drinking  eagerly  from  a  gourd.  In  the  ch.  of  S.  Isidore  at  Se- 
ville is  the  picture  of  the  death  of  that  saint,  which  is  considered  his 
greatest  work.  The  S.  lago  in  the  Mus.  of  Seville  represents  the 
saint  as  riding  over  the  Moors,  and  is  full  of  fiery  spirit;  it  is  a  chef- 
d'oeuvre  ;  several  other  fine  pictures  of  his  are  in  the  same  collection, 
but  some  critics  think  the  "  Conception,"  in  the  Acad.,  better  than 
these. 

Roepel,  Conrad,  born  at  the  Hague  (1679-1748).  Pupil  of  Con- 
stantin  Netscher.  He  painted  portraits  for  a  time,  but  at  last  de- 
voted himself  to  fruit  and  flower  pieces.  He  imitated  the  manner  of 
Jan  van  Huysum  very  successfully.  His  pictures  are  in  the  Dresden 
and  Cassel  galleries. 

Rogman,  Roland,  born  at  Amsterdam  (1597-1685).  The  rare 
landscapes  of  this  master  are  much  like  those  of  Rembrandt ,  and  are 
mistaken  for  the  works  of  the  latter.  Two  of  his  pictures  are  in  the 
Cassel  Gall.  He  also  left  thirty-three  plates  etched  carelessly  with  a 
slight  hand. 

Rokes,  Hendrik  Martenz,  called  Zorg.  Born  at  Rotterdam 
(1621-1682).  It  is  not  known  with  whom  this  painter  studied,  but 
his  subjects  are  like  those  of  Brower.  His  composition,  drawing, 
and  execution  are  good;  better  than  his  color.  A  "  Fish-market,"  in 
the  Van  der  Hoop  Coll.  at  Amsterdam  is  one  of  his  best  works. 
There  are  also  excellent  kitchen  scenes  and  similar  subjects  in  the 
Louvre,  Munich,  and  Dresden  galleries. 

Roldan,  Pedro,  born  at  Seville  (1624-1700).  A  member  of  a 
distinguished  family,  and  the  last  of  the  great  carvers  of  Spain. 
Among  the  first  of  his  celebrated  works  was  the  high-altar  in  the 
chapel  of  the  Biscayans  in  the  Franciscan  convent,  which  was  exe- 
cuted in  oak  or  cedar.  At  the  time  of  the  restoration  of  the  Hospi- 
tal of  Charity,  Roldan  executed  an  immense  piece  of  sculpture  for  the 
centre  of  the  retablo  of  the  high-altar  of  the  church.  The  "  En- 
tombment of  Our  Lord  "  is  the  subject  represented,  and  it  has  a 
peculiar  interest  as  being  the  last  fine  work  of  painted  sculpture  in 
Spain,  that  can  be  compared  with  the  works  of  Juni  and  Hernandez. 
Roldan  also  executed  bas-reliefs  in  stone  at  Jaen  for  the  exterior  of 
the  cathedral.  His  native  city  abounded  with  his  works.  His  devo- 
tion to  his  art  was  such  that  he  considered  every  moment  lost  that 
was  spent  on  other  pursuits.  He  married  a  lady  of  good  birth,  and 


ROLDAN  —  ROMANO.  513 

lived  in  the  country.  When  obliged  to  go  to  Seville,  he  carried  a 
lump  of  clay  in  his  hand  and  modelled  as  he  rode  along.  Although 
not  the  best  of  Spanish  sculptors,  he  had  great  skill  in  the  arrange- 
ment of  his  compositions,  and  his  figures  and  draperies  were  well 
studied.  His  daughter,  Dona  Luisa,  became  a  good  artist  under  his 
instruction,  and  was  accustomed  to  superintend  his  studio  and  pupils. 
She  often  made  valuable  suggestions  to  her  father,  and  upon  one  oc- 
casion, when  he  had  made  a  statue  which  was  rejected,  she  sug- 
gested to  him  certain  anatomical  differences  which  so  altered  the 
effect  of  the  work  that  it  was  thought  to  be  new,  and  was  peaceably 
installed  in  the  place  for  which  it  was  intended.  Her  own  works 
were  principally  small  figures  of  the  Virgin,  the  "  Adoration  of  the 
Shepherds,"  and  kindred  subjects.  Several  of  them  were  presented 
to  the  King,  Charles  II.,  and  he  so  admired  them  that  he  ordered  a 
life-size  statue  of  S.  Michael  for  the  ch.  of  the  Escorial.  She  exe- 
cuted this  to  his  satisfaction,  and  he  appointed  her  sculptress  in  or- 
dinary to  the  King.  She  died  at  Madrid  in  1704,  leaving  works  in 
various  churches  and  convents. 

Romanino,  Girolamo,  born  at  Rumano  on  the  Serio  (about  1485- 
1566).  It  is  said  that  he  first  studied  under  Stefano  Rizzi.  Before 
1510  he  was  free  of  the  guild  of  Brescia,  and  began  to  be  an  im- 
portant painter.  He  belonged  essentially  to  the  Venetian  school, 
but  had  his  marked  individual  modifications  and  characteristics.  His 
imagination  was  fertile  and  fantastic,  his  pathos  is  sometimes  wonder- 
ful, his  details  are  slightly  treated,  so  that  whatever  sentiment  he 
would  express  is  the  more  effective.  A  grand  work  of  his  is  in  the 
Manfrini  Pal.  at  Venice,  a  "Dead  Christ,"  painted  in  1510;  an 
altar-piece  with  several  saints  is  in  the  Berlin  Mus.;  a  "  Descent 
from  the  Cross,"  at  Dresden,  is  a  work  of  great  power,  and  though 
somewhat  coarse,  is  called  his  chef-d'oeuvre.  His  pictures  are  very 
numerous,  and  are  seen  in  Brescia,  Padua,  and  Cremona.  A  "Na- 
tivity," in  the  National  Gall.,  ranks  high  among  the  works  of  Ro- 
manino. 

Romano,  Giulio,  real  name  Giulio  Pippi,  born  at  Rome  (1492- 
1546).  A  favorite  pupil  of  Raphael.  While  his  master  lived  he  did 
but  few  original  works.  He  was  co-heir  to  Raphael's  estate  with 
Gio.  Francesco  Penni.  When  left  entirely  to  himself,  he  displayed 
a  wildness  which  ended  in  a  coarseness  hard  to  be  attributed  to  one 
educated  as  he  had  been.  He  was  also  an  architect,  and  was  invited 
to  Mantua,  where  he  erected  many  palaces  and  churches.  In  that 
city  he  attracted  much  attention,  and  was  surrounded  with  pupils 
who  executed  many  rich  decorations  under  his  direction.  After  the 
death  of  Sangallo  he  was  appointed  architect  of  S.  Peter's,  but  died 
at  Mantua  while  preparing  to  go  to  Rome  to  assume  his  office. 
Among  other  works  of  his  at  Mantua,  the  famous  Palazzo  del  Te 
gained  him  much  reputation,  but  it  is  only  wonderful  as  regards  the 
33 


514  ROMANO  —  ROMNEY. 

immensity  of  labor  performed ;  when  considered  in  detail  it  is  want- 
ing in  power,  and  in  many  respects  emphatically  coarse.  The  fres- 
coes of  scenes  from  the  history  of  Rome  in  the  Villa  Lanti,  and  a 
frieze  in  an  upper  saloon  of  the  Farnesina,  executed  before  he  left 
Rome,  are  his  best  works  of  this  kind.  A  fine  altar-piece,  painted 
originally  for  the  Fugger  family  of  Augsburg,  is  above  the  high-altar 
of  S.  Maria  dell'  Anima  at  Rome ;  another  altar-piece,  in  S.  Stef ano 
at  Genoa,  represents  the  martyrdom  of  the  saint,  and  is  an  impor- 
tant work;  it  was  painted  very  soon  after  Raphael's  death;  these 
are  the  best  of  his  large  religious  pictures.  The  easel  pictures  of 
Giulio  Romano  are  not  numerous,  neither  can  any  be  spoken  of  as 
very  excellent.  A  few  are  in  private  collections  in  England,  and 
the  Louvre  and  Manfrini  galleries  have  several.  Professor  T. 
Phillips  speaks  thus  of  his  style :  "  Day  and  night  are  commixed  in 
his  effects;  lights  and  darks  are  arranged  at  will,  and  often  in  total 
violation  of  the  principles  of  nature.  Colors  are  heaped  together  of 
the  most  vivid  hues,  such  as  sunshine  or  the  prism  only  can  produce, 
accompanied  by  shades  of  deeper  color,  or  of  the  blackest  night; 
while  the  lights  and  shadows  are  frequently  interrupted  in  their 
course  without  any  possibility  of  assigning  a  reasonable  cause.  Its 
brilliancy  and  vigor  have  acquired  for  it  too  much  applause  from  that 
portion  of  the  world  which  has  given  its  attention  to  pictures.  Its 
great  defects  have  been  overlooked  because  of  the  beauties  and  the 
power  of  imagination  united  with  them,  but  which  in  reality  they 
obscure  or  deform."  He  also  calls  it  "an  evil  art  founded  on  art, 
and  at  variance  with  nature."  It  is  a  regret  that  some  prints  still 
exist  which  were  engraved  by  Marc  Antonio  after  the  designs  of 
Giulio,  and  are  of  so  vile  a  character  as  to  be  revolting  to  every  sense 
of  decency.  They  are  accompanied  by  sonnets  from  the  pen  of 
Aretino,  which  are,  if  possible,  more  disgusting  than  the  prints. 

Rombouts,  Theodore,  born  at  Antwerp  (1597-1637).  Said  to 
have  studied  under  Abraham  Jansens.  In  1617  he  went  to  Italy, 
where  he  painted  historical  works  successfully.  Houbraken  gives  an 
account  of  his  attempted  rivalry  of  Rubens,  but  this  lacks  confirma- 
tion. He  had  many  excellences,  and  fine  feeling  for  composition  and 
beauty.  His  execution  was  finished,  but  his  flesh  colors  were  too 
brown  and  heavy.  His  pictures  are  few.  His  chef-d'oeuvre  is  a 
"  Descent  from  the  Cross,"  in  the  Ghent  Cath.  The  Antwerp  Mus. 
has  an  interesting  work  of  his  which  represents  S.  Augustine  enter- 
taining Christ  in  the  garb  of  a  pilgrim. 

Romeyn,  Willem.  Flourished  1660-1680.  A  painter  of  land- 
scapes with  animals,  who  imitated  Du  Jardin  successfully.  His  love 
of  nature  was  pure,  his  drawing  good,  and  his  composition  picturesque. 
His  works  are  in  the  Munich,  Dresden,  Berlin,  and  Amsterdam 
galleries. 

Romiiey,    George,    born    in    Kendal,    Lancashire    (1734-1802). 


ROMNEY  — KOSA.  515 

The  private  life  of  this  painter  was  peculiar.  He  married  before 
going  to  London,  and  left  his  family  in  Kendal,  visiting  them  but 
twice  in  thirty-seven  years.  In  1799  he  returned  to  them  for  the 
remainder  of  his  days.  In  London  he  rapidly  rose  to  fame  and 
fortune,  and  in  1773  went  to  Italy,  where  he  remained  two  years. 
His  best  points  as  a  painter  were  vigorous  drawing  and  expressive 
form.  He  divided  the  honors  of  portraiture  with  Sir  Joshua  Rey- 
nolds, whose  color  surpassed  that  of  Romney.  Flaxman  praised  him 
in  high  terms.  His  best  efforts  were  poetical  subjects  and  cartoons; 
many  of  the  latter  have  been  destroyed.  His  works  are  in  the  Fitz- 
william  Mus.,  Cambridge,  and  in  the  Royal  Institution,  Liverpool. 

Roos,  Heinrich,  born  at  Ottendorf  in  the  Palatinate  (1631-1685). 
Pupil  of  Julien  Du  Jardin  and  Adrian  de  Bye.  He  settled  in  Frank- 
fort in  1671,  and  passed  the  remainder  of  his  life  there.  His  pictures 
are  landscapes  with  animals;  he  often  introduced  ruins,  fountains, 
etc.  While  his  painting  cannot  be  compared  with  that  of  Adrian 
van  de  Velde  or  Paul  Potter,  it  is  yet  admirable.  His  feeling  for 
nature  was  refined,  the  drawing  of  his  animals  excellent,  and  his 
composition  agreeable.  His  sheep  were  better  than  his  cattle.  .  Color 
was  his  weakest  point,  therefore  his  etchings,  forty-two  in  number, 
are  finer  than  his  pictures;  they  are  rare  and  much  prized,  and  as 
an  etcher  he  ranks  with  the  best  Dutch  painters.  His  animals  are 
truthful,  his  foreshortening  admirable,  and  his  success  in  represent- 
ing the  peculiar  coats  of  the  different  animals  is  wonderful.  His 
chiaro-scuro  is  also  good.  His  works  are  in  the  Munich,  Dresden, 
Vienna,  and  Berlin  galleries,  and  in  the  Stadel  Institute  at  Frankfort. 

Roos,  Philip,  called  Rosa  di  Tivoli,  born  at  Frankfort  (1655- 
1705).  Son  and  pupil  of  the  preceding.  He  settled  at  Tivoli,  and 
painted  life-size  figures  and  animals  in  a  decorative  style;  they  are 
not  agreeable.  His  subjects  were  sometimes  historical,  as  that  of 
Noah  surrounded  by  all  kinds  of  animals,  now  in  the  Dresden  Gall. 
In  the  Vienna  Gall,  there  is  a  view  of  the  Falls  of  Tivoli,  which  is 
powerful  in  color.  The  Gall,  at  Cassel  has  some  of  his  best  pictures. 
Rosa,  Anna  di,  born  at  Naples  (1613-1649).  A  pupil 
of  Francesco  di  Rosa  and  Massimo  Stanzioni.  She  ac- 
quired a  good  reputation  as  an  historical  painter,  and 
married  Agostino  Beltrano,  a  fellow-pupil,  who  murdered 
her  in  a  fit  of  jealousy.  She  was  noted  for  her  beauty  as  well  as  for 
her  talent.  It  is  now  quite  impossible  to  speak  intelligently  of  her 
works,  as  she  labored  conjointly  with  Stanzioni  and  with  Beltrano. 

Rosa,  Salvator,  born  near  Naples  (1615-1673).  This  painter 
was  a  man  of  varied  talents,  and  was  a  poet  and  musician  besides 
being  a  wonderful  artist.  His  father  was  an  educated  man,  and  en- 
couraged his  son  in  his  tastes  for  art ;  he  had  also  a  relative  who  was 
an  artist  and  assisted  him  in  his  pursuits.  His  masters  were  Spagn- 
oletto  and  A  niello  Falcone.  In  1635  he  went  to  Rome,  and,  with 


516  KOSA. 

the  exception  of  intervals  passed  at  Viterbo,  Volterra,  and  Florence, 
he  resided  there  until  his  death.  It  is  said  that  in  his  youth  he  asso- 
ciated with  bandits,  and  there  is  an  element  in  his  representations  of 
wild  scenery  and  the  men  he  pictures  in  its  midst,  that  leads  us  to 
believe  that  this  is  true.  He  certainly  painted  the  portrait  of  Ma- 
saniello  more  than  once,  and  is  said  to  have  joined  the  Compagnia 
della  Morte,  of  which  Aniello  Falcone  was  captain.  He  made  many 
enemies  by  his  independence  and  his  satirical  proclivities.  He  wrote 
satires  on  Music,  Poetry,  Painting,  War,  Babylon,  and  Envy,  and 
though  they  were  not  published  until  long  after  his  death,  it  was  well 
known  that  he  had  written  them,  during  his  life.  He  married  a  Flor- 
entine woman,  who  had  been  his  housekeeper,  only  a  few  days  before 
his  death.  She  had  borne  him  two  sons,  one  of  which,  Augusto, 
alone  survived  him.  He  was  buried  in  the  ch.  of  S.  Maria  degli 
Angeli,  where  a  monument  is  erected  to  his  memory.  The  pictures 
of  Salvator  Rosa  are  historical,  genre,  and  landscape  subjects,  and  he 
was  not  inferior  in  portrait  painting.  In  the  first  and  last  (historical 
and  portraits),  he  followed  the  Naturalisti,  and  yet  some  of  his  his- 
torical works  are  impassioned;  but  his  landscapes  are  his  character- 
istic works.  Jagged  rocks  and  mountains,  wild  dells  and  lonely  de- 
files, with  here  and  there  robbers,  hermits,  or  soldiers,  make  his  most 
effective  pictures.  There  is  a  deep  sense  of  desolation  and  almost 
fear  in  them,  that  is  most  impressive.  Again  his  views  are  as  quiet 
and  simply  serene  as  those  of  Claude,  while  the  figures  are  the  inter- 
esting element,  and  are  full  of  poetic  feeling  and  fantastic  conception ; 
but  in  spite  of  all  his  varied  gifts,  and  in  spite  of  the  degree  of  ex- 
cellence which  attended  all  his  efforts,  it  is  in  his  wildest  and  loneliest 
pictures  that  he  speaks  most  to  me  :  they  are  the  expression  of  him- 
self; the  others  are  the  expression  of  his  remarkable  acquirements. 
Perhaps  his  best  historical  work  is  the  "  Conspiracy  of  Catiline,"  in 
the  Pitti  Pal.  In  the  same  place  there  is  a  portrait  of  a  man  in  ar- 
mor, with  a  wild  gloominess  in  it  which  makes  it  fascinating.  There 
is  also  a  battle  piece  of  his  in  the  Pitti,  but  there  is  a  better  one  in 
the  Louvre.  The  Augsburg  Gall,  has  some  of  his  best  landscapes. 
The  Vienna  Gall,  has  a  good  representation  of  a  "  Warrior  doing 
Penance,"  and  the  Berlin  Gall,  has  a  sea  piece;  so  we  see  him  under 
all  aspects,  and  never  without  power.  Many  works  of  his  are  in 
private  collections  in  England.  They  can  be  purchased  now  only  at 
enormous  prices.  His  etchings,  of  which  he  left  about  ninety,  are 
masterly  in  execution  and  have  great  expression  in  the  heads,  while 
the  chiaro-scuro  is  well  managed. 

ENGRAVINGS   AFTER   THE   WORKS   OP   SALVATOR   ROSA. 

Engraver,  BROWNE,  John.     Apollo  and  the  Muses  granting  Lon- 
gevity to  the  Cumaean  Sibyl.     S.  John  preaching  in  the  Wilderness. 
Engraver,  CECCHI,  Gio.  Battista.     Catiline's  Conspiracy. 


ROSA  —  ROSASPINA.  517 

Engraver,  GOUPY,  Joseph.  S.  Philip  baptizing  the  Eunuch.  S. 
John  preaching  in  the  Wilderness.  A  set  of  eight  Landscapes. 

Engraver,  GRIGNON,  Charles.  Phryne  and  the  Philosopher  Xe- 
nocrates. 

Engraver,  MICHEL,  Jean  Baptiste.     The  Prodigal  Son. 

Engraver,  OSSENBECK,  Jan  van.  Some  large  prints  which  are 
scarce. 

Engraver,  PARIZEAU,  Philip.  An  Assembly  of  Roman  Soldiers. 
Marius  seated  on  the  Ruins  of  Carthage. 

Engraver,  PREISLER,  John  Martin.  Jonas  preaching  to  the  Nin- 
evites. 

Engraver,  RAVENET,  Simon  Francis.  The  Prodigal  Son.  Phryne 
tempting  Xenocrates. 

From  his  own  Designs,  engraved  by  himself. 

A  set  of  sixty-two  prints  of  banditti,  soldiers,  and  other  figures ; 
single  and  in  groups. 

The  Fall  of  the  Giants. 

The  Death  of  Attilius  Regulus. 

The  Finding  of  (Edipus. 

Democritus  meditating. 

The  Execution  of  Polycrates. 

Glaucus  and  Sylla. 

Jason  charming  the  Dragon. 

Alexander  with  Apelles. 

Alexander  and  Diogenes. 

Diogenes  throwing  away  his  Bowl. 

Plato  discoursing  with  his  Disciples. 

Apollo  and  a  Nymph. 

A  print  called  "  The  Genius  of  Salvator." 

A  set  of  six  plates  in  the  form  of  friezes,  with  Tritons,  Sea 
Nymphs,  etc. 

Engraver,  STRANGE,  Sir  Robert.  Belisarius;  1757.  Laomedon, 
King  of  Troy,  detected  by  Neptune  and  Apollo;  1775. 

Engraver,  WOOD,  John.     A  Mountainous  Landscape. 

Rosalba,  Carriera,  born  at  Chiozza  (1675-1757).  She  accom- 
panied her  brother-in-law,  Pellegrini,  to  Paris,  where  she  was  much 
employed  in  portrait  painting,  and  numbered  the  royal  family  among 
her  sitters.  Her  pictures  have  many  excellences  in  the  heads,  but 
are  weak  in  the  busts,  arms,  and  drapery.  From  over  application 
she  lost  her  sight,  and  was  blind  several  years  before  her  death. 

Rosaspina,  Francesco,  born  at  Bologna  (1760-1841).  A  dis- 
tinguished engraver.  He  was  an  excellent  imitator  of  Bartolozzi,  and 
has  been  by  some  writers  compared  to  Morghen.  He  certainly  suc- 
ceeded remarkably  in  rendering  the  peculiarities  and  excellences  of 
the  different  painters  from  whom  he  copied. 


518  RO  SELLING  —  RO  S  SI. 

Rosellino,  Bernardo  (1409-1470).  This  architect  was  employed 
by  Nicholas  V.  to  restore  the  palaces  of  ancient  Rome,  and  to  build 
palaces  at  Orvieto  and  Spoleto  and  baths  at  Viterbo.  This  Pope  had 
also  conceived  the  idea  of  reconstructing  S.  Peter's  and  enlarging  the 
Vatican,  so  as  to  make  an  immense  monastery,  or  a  little  city  by  itself, 
especially  for  the  servants  of  the  church.  He  had  asked  Rosellino  to 
make  him  a  plan  for  all  this,  but  death  ended  his  schemes,  and 
although  the  artist  found  another  patron  in  the  famous  Piccolomini, 
Pius  II.,  he  was  intent  only  upon  the  improvement  of  Pienza,  his  na- 
tive place.  Rosellino  there  built  a  cathedral,  a  palace,  a  canonica,  and 
a  municipal  palace.  This  architect  also  built  the  Piccolomini  Pal.  at 
Siena,  and  various  other  architectural  works  in  that  city.  Bernardo 
found  some  time  to  devote  to  sculpture,  and  executed  several  elabo- 
rate monuments ;  but  two  of  his  choicest  works  in  this  way  are  a 
bust  of  the  young  S*  John,  and  a  portrait  bust  of  Battista  Sforza, 
both  in  the  Uffizi  Gall. 

Rosellino,  Antonio  (1427-1490).  Called  Antonio  del  Procon- 
solo  from  the  quarter  of  Florence  in  which  he  was  born.  He  was  a 
fine  sculptor  and  is  said  to  have  studied  under  Donatello,  but  his 
style  resembles  Ghiberti.  The  expression  of  his  faces  was  full  of 
sweetness  and  grace ;  he  had  also  dignity  of  treatment  combined 
with  delicacy.  Some  of  his  best  works  were  the  monument  to  Card. 
Portogallo  at  S.  Miniato,  near  Florence  ;  that  of  Mary  of  Aragon  in 
Monte  Oliveto  at  Naples  ;  a  relief  of  the  u  Nativity,"  over  an  altar 
in  the  same  ch.,  and  a  relief  of  the  "  Adoring  Madonna,"  in  the 
Uffizi.  There  are  smaller  works  by  Antonio  in  the  ch.  of  Santa 
Croce  at  Florence,  in  the  Cath.  of  Prato,  and  in  the  Uffizi. 

Rosselli,  Cosimo,  born  at  Florence  (1439-1506).  This  artist  exe- 
cuted large  frescoes  which  are  still  preserved.  He  is  not  by  any 
means  an  incomparable  painter,  for  his  compositions  are  crowded 
and  wanting  in  effective  unity.  Here  and  there  his  figures  have  dig- 
nity and  grandeur,  and  he  has  some  skill  in  details.  His  best  work 
is  in  the  ch.  of  S.  Ambrogio  at  Florence,  and  represents  the  "  Mira- 
cle of  the  Sacrament."  Sixtus  VI.  employed  him  in  the  decoration 
of  the  Sixtine  chapel,  where  his  best  effort  was  the  "  Sermon  on  the 
Mount."  It  is  said  that  Cosimo  realized  his  incompetency  when 
compared  with  the  other  painters  employed  there,  and  used  much 
gold  and  ornamentation  in  order  to  please  the  untrained  eyes  of  the 
Pope.  He  succeeded  in  his  wish  for  the  time,  but  his  reputation 
gains  nothing  by  the  ruse. 

Rosselli,  Matteo,  born  at  Florence  (1578-1650).  There  are 
many  good  works  by  this  painter  in  his  native  city,  and  he  became 
a  very  popular  teacher  of  painting.  The  "  Triumph  of  David,"  in 
the  Pitti  Gall.,  is  one  of  his  best  pictures. 

Rossi,  Properzia  de',  born  at  Bologna  (1490-1530).  The  one 
Italian  sculptress.  She  was  born  about  a  year  after  the  return  of 


DAVID'S    TRIUMPH. 


ROSSI.  519 

her  father  from  the  galleys,  where  he  had  passed  eighteen  years, 
having  been  condemned  for  manslaughter.  She  seems  to  have  in- 
herited a  violent  temper,  and  was  twice  arraigned  in  court  for  dis- 
playing it.  Antonio  Galeazzo  Malvasia  de'  Bottigari  was  her  de- 
voted lover,  and  did  not  marry  until  long  after  her  death.  She  was 
very  beautiful.  When  Pope  Clement  VII.  visited  Bologna  in  1530, 
he  desired  to  see  her,  but  she  had  died  a  few  days  before.  She  was 
instructed  in  drawing  by  Marc  Antonio  Raimondi,  and  first  devoted 
herself  to  intaglios  so  minute  as  to  require  great  delicacy  of  handling 
and  vast  patience.  She  carved  a  glory  of  saints  on  a  cherry-stone, 
upon  which  sixty  heads  may  be  counted.  This  is  in  the  cabinet  of 
gems  at  the  Uffizi.  Other  microscopic  works  executed  for  Count 
Camillo  Grassi  are  preserved  by  his  descendants  in  the  Palazzo 
Manili.  She  next  turned  to  arabesques,  marble  ornaments,  lions, 
griffins,  vases,  eagles,  heads,  etc.  She  modelled  the  bust  of  Count 
Guido  Pepoli  now  in  the  sacristy  of  the  basilica  of  S.  Petronius. 
She  was  employed  to  assist  in  finishing  the  reliefs  about  the  portal 
which  Giacomo  della  Quercia  had  left  unfinished.  She  also  executed 
two  bas-reliefs  now  in  the  sacristy,  which  represent  "  Joseph  and 
Potiphar's  Wife,"  and  "  Solomon  receiving  the  Queen  of  Sheba." 
Her  later  works  seem  to  have  been  much  influenced  by  her  contact 
with  H  Tribolo,  but  are  still  interesting. 

Rossi,  Francesco.     See  Salviati. 

Rossi,  Rosso  de',  called  by  the  French  Maitre  Roux,  born  in 
Florence  (1496-1541).  This  painter  was  an  imitator  of  Michael 
Angelo  and  Andrea  del  Sarto.  After  painting  in  several  cities  of 
Italy  he  went  to  France,  and  was  employed  at  Fontainebleau  by 
Francis  I.  He  was  an  agreeable  and  handsome  man,  and  became  a 
great  favorite  with  the  King.  He  was  well  versed  in  poetry,  music, 
and  general  literature,  and  was  in  the  full  tide  of  popularity  when  he 
was  robbed  of  a  considerable  sum  of  money.  By  some  means  his 
suspicions  were  fixed  upon  his  assistant,  another  Florentine  painter, 
Francesco  Pellegrini;  the  latter  was  put  to  the  torture,  but  nothing 
could  be  proved  against  him,  and  the  judges  declared  him  innocent. 
Rossi  suffered  such  acute  remorse  for  having  thus  wronged  an  un- 
offending man,  that  he  at  last  took  his  own  life.  His  works  are  not 
numerous  in  Italy.  There  is  a  large  Madonna  and  saints  by  him  in 
the  Pitti  Pal.,  and  a  fresco  in  the  court  of  the  SS*  Annunziata,  rep- 
resenting the  "  Assumption  of  the  Virgin."  But  few  of  his  pictures 
remain  at  Fontainebleau.  In  the  Louvre  there  is  one  of  his  few  easel 
pictures,  "  The  Rival  Songs  of  the  Muses  and  the  Pierides;  "  it  is 
one  of  his  best. 

Rossi,  John  Charles  Felix,  born  at  Nottingham  (1762-1839). 
Principally  known  by  his  sculptures  in  S.  Paul's  Cath.  The  most 
noted  are  the  monuments  of  Lords  Cornwallis,  Heathfield,  and  Rod- 
ney. He  was  appointed  sculptor  to  the  Prince  Regent,  and  em- 


520  ROSSI  —  ROVEZZANO. 

ployed  in  Buckingham  Pal.     He  was  also  sculptor  to  King  William 
IV. 

AAV  _  Rota,  Martino,  born  in  a  town  of  Dalmatia 
J  V\X  (27  (1532  7-1586  ?).  An  eminent  engraver  whose  works 
in  good  impressions  are  now  rare.  The  "  Last  Judgment,"  after 
Michael  Angelo,  is  considered  his  chef-d'oeuvre.  After  this,  some  of 
his  portraits  are  most  excellent.  His  "  Battle  of  Lepanto,"  a  strange 
composition  of  his  own,  is  extremely  rare.  There  have  been  very 
exact  copies  made  of  his  "Last  Judgment  "  by  other  engravers. 

Rotheiihammer,  Johann,  born  at  Munich  (1564-1622).  At  the 
end  of  the  16th  century  the  northern  painters  had  lost  many  of  their 
distinctive  characteristics  from  constant  study  of  Italian  art.  Roth- 
enhammer  had  made  the  works  of  Tintoretto  his  models,  and  while 
he  imitated  them,  he  still  preserved  some  traits  of  the  German  taste 
and  style.  He  painted  some  large  pictures,  but  his  best  works,  and 
those  by  which  he  is  generally  known,  are  easel  pictures,  in  which 
the  figures  are  his,  and  the  landscape  executed  by  Jan  Breughel  or 
Paul  Bril.  His  earlier  works  are  his  best.  He  married  in  Venice, 
and  was  extravagant  in  his  habits,  so  that  he  often  painted  hastily, 
for  money,  pictures  inferior  to  his  best  efforts.  His  works  are  in  all 
large  galleries.  Many  of  them  are  tenderly  fused  in  execution,  but 
his  later  pictures  have  brick-red  flesh  tones,  and  greenish  shadows, 
which  are  displeasing. 

Roubilliac,  Louis  Fra^ois,  died  1762.  This  sculptor,  although 
a  Frenchman,  is  best  known  by  his  works  in  England,  to  which 
country  he  early  went.  At  first  Sir  Edward  Walpole  was  his  friend, 
and  assisted  him  until  his  works  established  his  reputation  and  he 
was  constantly  employed.  His  monuments  and  statues  are  numerous 
in  England. 

Roullet,  Jean  Louis,  born  at  Aries  (1645-1669).  This  excellent 
engraver  studied  under  Jean  Lenfant  and  Francis  Poilly.  His  print 
of  "The  Maries  with  the  Dead  Christ,"  after  Annibale  Carracci,  is 
an  admirable  specimen  of  his  skill.  He  remained  ten  years  in  Italy, 
and  acquired  much  readiness  in  representing  the  works  of  Italian 
masters. 

Roux,  Maitre.     See  Rosso  de'  Rossi. 

Rovezzano,  Benedetto  da,  real  name  Guarlotti,  born  at  Rovez- 
zano,  late  in  the  15th  century.  He  did  not  succeed  as  a  sculptor  of 
statues,  but  as  a  worker  of  small  figures  and  ornaments  he  was  remark- 
able. A  very  beautiful  chimney-piece  in  the  Casa  Roselli,  and  the 
decorations  of  the  tomb  of  Piero  Soderini,  in  the  Carmine  at  Flor- 
ence, are  some  of  the  best  examples  of  his  style.  His  greatest 
work  was  a  tomb  for  the  founder  of  the  Convent  of  Vallombrosa; 
but  this  was  destroyed  in  the  siege  of  1530,  and  only  some  portions 
of  it  are  preserved  in  the  Gall,  of  Tuscan  sculptors  at  the  Uffizi. 
In  1524  Rovezzano  went  to  England,  and  was  commissioned  by 


ROVEZZANO  —  RUBENS.  521 

Card.  Wolsey  to  erect  his  tomb.  He  had  worked  on  it  five  years, 
when  Wolsey  was  disgraced,  and  Henry  VIII.  ordered  it  to  be  com- 
pleted for  himself;  but  the  King  died  before  it  was  finished,  and  at 
length  the  Parliament  ordered  the  copper  figures  to  be  melted  down, 
but  reserved  the  sarcophagus,  in  which,  finally,  the  body  of  Lord 
Nelson  was  enclosed.  Thus  the  two  works  which  should  have  made 
a  great  name  for  Rovezzano  perished,  and  he  became  blind,  an  afflic- 
tion which  he  bore  with  much  patience.  He  died  in  Florence,  in 
1550. 

Rubens,  Peter  Paul,  born  at  Siegen  in  the  county  of  Nassau 
(1577-1640).  This  remarkable  man,  scholar,  painter,  and  diploma- 
tist, was  descended  from  two  good  families.  His  father,  John  Ru- 
bens, was  one  of  two  principal  magistrates  of  Antwerp,  and  his 
mother,  Mary  Pypeling,  belonged  to  a  distinguished  family  of  the 
same  city.  About  1570  John  Rubens  was  forced  to  leave  Antwerp 
by  the  civil  war  then  raging,  so  that  the  birth  of  our  artist  occurred 
when  his  family  were  in  a  sort  of  exile.  His  birthday  was  the  feast 
of  SS.  Peter  and  Paul,  from  which  circumstance  he  was  named.  He 
early  made  rapid  advancement  in  scholarship ;  his  talent  for  drawing 
soon  led  him  to  decide  upon  painting  as  a  profession.  He  entered 
the  school  of  Adam  van  Noort,  fitted  by  education  as  few  young  art- 
ists were  to  appreciate  the  beauties  and  difficulties  of  the  career  be- 
fore him.  He  remained  four  years  with  this  master,  and  laid  the  foun- 
dation of  his  success  in  gaining  a  thorough  knowledge  of  the  technical 
part  of  his  art.  Another  four  years  was  passed  in  the  studio  of  Otto 
Vamius,  whose  cultivation  of  mind  and  taste  were  of  more  advantage 
to  Rubens  than  his  instructions  in  painting.  In  1598  he  was  admitted 
to  the  guild  of  painters  in  Antwerp;  his  father  had  died,  and  his 
mother  had  returned  to  that  city.  In  1600  he  went  to  Venice  and 
studied  the  works  of  Titian  and  Paul  Veronese.  The  Archduke 
Albert,  governor  of  the  Netherlands,  had  given  him  letters  of  rec- 
ommendation to  Vinccnzio  Gonzaga,  Duke  of  Mantua,  and  when  he 
proceeded  to  that  city  he  was  received  honorably  and  appointed  a 
gentleman  of  the  bedchamber.  He  remained  two  years  and  studied 
the  works  of  Giulio  Romano  at  the  Palazzo  del  Te,  as  well  as  other 
works  within  his  reach.  He  then  asked  permission  to  go  again  to 
Venice,  which  was  granted;  when  he  returned  to  Mantua  he  executed 
three  large  pictures  for  the  Jesuits,  in  which  he  proved  how  much  he 
had  gained  from  his  opportunities.  The  Duke  soon  sent  him  to 
Rome  to  copy  some  of  the  most  celebrated  pictures  there;  he  exe- 
cuted this  commission,  and  painted  by  command  of  the  Archduke 
Albert  three  pictures  for  the  ch.  of  Santa  Croce  in  Gerusalemme.  In 
1605  the  Duke  of  Mantua  wished  to  dispatch  an  envoy  to  Spain,  and 
recalled  Rubens  from  Rome  that  he  might  undertake  the  mission. 
In  this  embassy  he  proved  that  he  had  political  abilities  of  no  com- 
mon kind ;  but  we  must  take  into  account  that  his  personal  charms 


522  KUBENS. 

and  cultivated  mind  contributed  to  acquire  favor  wherever  he  went. 
When  in  Rome  he  had  been  commissioned  to  paint  the  tribune  of  S. 
Maria  in  Vallicella,  and  after  his  return  from  Spain  he  proceeded  to 
do  so.  He  then  went  to  Genoa,  whither  his  fame  had  preceded  him, 
and  was  immediately  employed.  He  had  now  been  seven  years  ab- 
sent from  his  home,  when  he  was  recalled  on  account  of  the  illness 
of  his  mother,  who  did  not  live  until  he  reached  her.  He  then 
settled  in  Antwerp,  built  himself  a  house  with  a  charming  studio,  and 
in  1609  married  his  first  wife,  Isabella  Brant,  who  died  in  1626, 
leaving  two  sons,  to  whom  Gevartius  was  tutor.  During  these  years 
he  led  a  very  regular  and  industrious  life.  He  had  many  scholars 
and  did  an  immense  amount  of  work.  It  was  then  that  he  executed 
a  large  portion  of  the  chefs-d'oeuvre  which  have  immortalized  his 
name  and  enriched  the  world.  He  was  accustomed  to  have  some  one 
read  to  him  while  he  painted,  and  his  choice  fell  on  history  or  poetry, 
which  served  to  enrich  his  mind  with  the  learning  he  so  loved.  He 
could  read  and  speak  seven  languages,  so  that  ancient  and  modern 
writers  were  alike  known  to  him.  He  has  been  accused  of  allowing 
his  pupils  to  paint  pictures  during  these  years  which  he  appro- 
priated to  himself,  but  he  refuted  these  accusations  and  proved  how 
universal  was  his  genius,  by  completing  with  his  own  hands  pictures 
of  almost  every  kind.  In  1620  he  was  invited  to  France  by  Marie 
de'  Medicis,  for  whom  he  executed  many  great  works.  In  1628  he 
was  sent  again  to  Spain  by  the  Infanta  Isabella.  His  mission  was  a 
delicate  one,  but  he  fulfilled  it  to  the  satisfaction  of  Phflip  IV.  and 
the  Duke  of  Olivares.  While  in  Spain  he  painted  many  grand  and 
important  pictures,  some  of  which  are  splendid  examples  of  his  gor- 
geous coloring.  Upon  his  return  to  Flanders  he  was  sent  to  Eng- 
land to  try  to  effect  a  peace  with  that  country.  He  was  successful, 
and  was  knighted  by  King  Charles  in  1630.  He  also  received  this 
honor  from  the  King  of  Spain.  It  was  in  1 630  that  he  married  the 
young  Helen  Fourment,  a  niece  of  his  first  wife.  She  was  but  six- 
teen years  old.  She  bore  him  five  children,  survived  him,  and  mar- 
ried again.  Both  his  wives  so  often  served  him  for  models  that  their 
forms  and  faces  are  familiar  to  the  world.  After  his  return  from 
England  he  was  treated  with  much  consideration  in  Flanders.  He 
soon  was  forced  by  gout  to  confine  himself  to  easel  pictures.  He 
lived  luxuriously,  and  was  a  collector  of  beautiful  things  of  various 
kinds.  After  his  death  a  portion  of  his  collection  was  sold  for  more  than 
£20,000  sterling  at  private  sale.  He  died  in  1640  and  was  buried 
in  his  private  chapel  in  the  ch.  of  S.  James,  which  is  decorated  with 
a  magnificent  work  of  his  own.  His  family  erected  a  monument  to 
him  upon  which  is  inscribed  an  epitaph  written  by  Gevartius.  As  a 
painter  there,  seems  to  be  but  one  adjective  descriptive  of  Rubens : 
magnificent  alone  expresses  the  effect  of  his  color;  his  system  of  lev- 
elling his  subject  to  his  style  was  magnificent;  his  faults  were  mag- 


RUBENS.  523 

nificent;  and  if  you  sometimes  feel  him  to  be  gross  or  vulgar,  he  is  so 
magnificently.  In  painting  he  was  certainly  an  universal  genius. 
The  works  ascribed  to  him  are  about  1800  in  number  ;  of  course 
much  of  the  actual  labor  was  performed  by  his  pupils,  but  there  is 
something  of  himself  in  them  all.  They  embrace  historical,  Scriptu- 
ral, and  mythological  subjects,  portraits,  animals,  genre,  and  land- 
scapes. In  his  style  he  is  a  strange  and  delightful  combination  of 
Southern  and  Northern  art ;  his  technicalities  and  arrangement  are 
Italian;  his  figures,  even  when  they  represent  our  Saviour  and  the 
most  holy  men,  are  in  reality  German  peasants,  Spanish  kings,  or 
somebody  else  whom  he  has  seen.  How  bizarre  is  the  way  in  which 
he  mingles  earthly  princes,  antique,  mythical  personages,  ancient 
gods,  and  the  members  of  the  family  of  Marie  de'  Medicis  !  and  he 
dresses  them  all  in  the  latest  fashion  of  his  time,  and  in  the  most  be- 
coming colors !  and  is  not  this  very  mixture  magnificently  strange  ? 
But  in  order  to  enjoy  a  large  portion  of  his  works  it  is  best  to  forget 
his  subjects,  forget  the  names  by  which  they  are  called,  and  observe 
each  figure  as  a  separate  portrait  —  then  you  feel  his  power ;  par  ex- 
emple,  in  the  picture  which  hangs  above  his  tomb,  forget  that  it  is  a 
representation  of  any  subject,  and  look  only  for  the  portraits  of  his 
two  wives.  How  charming  they  are  !  the  one  so  brilliant  and  ener- 
getic, the  other  so  shy  and  thoughtful,  both  in  their  way  magnificent. 
But  if  you  look  at  it  as  an  "  Adoration  of  the  Virgin,"  it  will  seem 
as  if  the  spirit  of  Fra  Angelico  and  other  holy  painters  stood  beside 
you,  and  helped  you  not  to  forget  how  the  spiritual  can  be  communi- 
cated by  the  brush  when  it  is  guided  by  faith  and  prayer,  and  to 
distinguish  between  this  work  and  those  of  a  purer  type.  Rubens 
suggests  so  much  that  I  could  go  on  and  on,  selecting  virtues  here, 
and  criticising  faults  there;  and  it  would  be  a  pleasure  to  do  it; 
but  my  mission  is  only  suggestive,  and  my  space  will  only  allow  me 
to  give  a  list  of  a  few  of  his  pictures  in  the  various  departments 
in  which  he  worked.  In  his  ecclesiastical  pictures  the  "  Descent 
from  the  Cross,"  in  the  Antwerp  Cath.,  stands  first;  indeed  it  may 
be  considered  the  clief-cV 'ceuvre  of  all  his  works.  Rubens  received  the 
order  for  this  picture  from  the  Company  of  Archers  in  1611,  and  it 
was  completed  and  in  its  place  three  years  later.  The  masterly 
composition  and  elevated  expression  of  the  heads,  joined  to  its 
breadth  of  execution  and  excellence  of  finish,  render  it  a  marvellous 
production.  The  wings,  which  represent  the  "  Visitation,"  and  the 
"  Presentation  in  the  Temple,"  are  also  fine  examples  of  the  master's 
best  manner.  The  "  Elevation  of  the  Cross,"  in  the  same  Cath.,  is 
very  different  in  effect.  It  is  overwhelming  in  its  portrayal  of  vio- 
lent and  agitated  emotions,  and  could  only  have  been  done  by  a  great 
master,  but  it  is  almost  frightful  in  its  dramatic  force.  His  altar- 
pieces  were  so  numerous  that  it  is  difficult  to  select  those  of  which  to 
sju-ak.  The  Antwerp  Mus.  has  the  "  Communion  of  S.  Francis," 


524 


RUBENS. 


the  "  Incredulity  of  S.  Thomas,"  a  «  S.  Theresa  "  which  is  delicate 
in  feeling;  a  charming  "  Holy  Family,"  a  splendid  "  Adoration  of 
the  Kings,"  and  others  of  great  excellence.  The  "Miracle  of  the 
Brazen  Serpent,"  in  the  Madrid  Gall.,  is  one  of  his  most  powerful 

F 


CHILDREN.      BY   RUBENS. 

Berlin  Gall. 

conceptions.  The  Belvedere  Gall,  at  Vienna  is  rich  in  his  works  of 
this  class,  and  others  are  in  the  Pinakothek  of  Munich.  The  "  Cru- 
cifixion of  S.  Peter,"  in  the  ch.  of  that  saint  at  Cologne,  is  masterly 
beyond  description,  but  repulsive  in  its  naked  truthfulness.  Among 


RUBENS.  525 

his  representations  from  profane  history  are  six  pictures  of  the  His- 
tory of  Decius,  in  the  Lichtenstein  Gall.,  in  which  he  appears  far 
more  grand  than  in  the  twenty-one  scenes  from  the  Life  of  Marie  de' 
Medici  in  the  Louvre.  That  one  in  which  the  Consul  is  dedicated 
to  death  by  the  High  Priest  is  most  wonderful.  His  mythological 
subjects  are  full  of  sensual  power.  The  "  Rape  of  Proserpine  "  at 
Blenheim;  the  "  Battle  of  the  Amazons  "  at  Munich;  the  "  Garden  of 
Love  ' '  at  Madrid  (copy  in  Dresden) ;  and  the  "  Rape  of  the  Daughters 
of  Leucippus,"  at  Munich,  are  some  of  the  more  important  of  this 
class.  His  genre  pictures  were  delightful.  A  "  Tournament  near  an 
old  Castle,"  in  the  Louvre,  and  a  Fair,  in  the  same  Gall,  are  examples 
of  this  phase  of  the  talent  of  this  inexhaustible  genius.  His  pictures 
of  children  are  simply  charming,  and  convey  the  idea  that  he  painted 
them  from  pure  love  of  it.  Four  children  in  the  Berlin  Gall. ,  and 
seven  others  carrying  a  festoon  of  fruit,  in  the  Munich  Gall.,  are 
beautiful  examples.  His  portraits  are  his  most  perfect  works  to  some 
minds ;  certainly  they  are  admirable,  and  very  numerous.  I  can  give 
space  to  mention  but  a  few.  That  of  Helen  Fourment  walking  with 
a  page,  at  Blenheim;  the  famous  "  Chapeau  de  Paille,"  in  the  Coll. 
of  the  late  Sir  Robert  Peel ;  that  of  the  two  sons  of  Rubens,  in  the 
Lichtenstein  Gall.,  and  the  so-called  "  Four  Philosophers,"  in  the 
Pitti,  are  among  the  most  celebrated.  The  last  is  extremely  fine  in 
color,  and  represents  the  artist  and  his  brother,  with  Justus  Lipsius 
and  Hugo  Grotius.  The  representation  of  animals  was  by  no  means 
a  lesser  power  with  Rubens.  He  preferred  to  paint  them  in  conflict 
and  action;  fine  examples  are  in  the  Munich,  Dresden,  and  Vienna 
galleries.  His  landscapes,  when  only  intended  as  backgrounds  for 
his  figures,  were  often  fine,  and  it  is  said  that  he  painted  a  larger 
number  than  Titian  of  landscapes  proper.  Many  of  these  are  in  pri- 
vate collections  in  England.  The  "  Deluge  in  Phrygia,"  in  the 
Vienna  Gall.,  combines  a  most  effective  lighting  with  masterly  com- 
position and  handling. 

ENGRAVINGS    AFTER   THE   WORKS   OF   RUBENS. 

Engraver,  ARDELL,  James  Me.     Rubens,  his  Wife,  and  Child. 

Engraver,  AUDRAN,  Benoit.  Two  prints  for  the  Luxembourg 
Gall.,  representing  the  Accouchement  of  Marie  de'  Medici. 

Engraver,  BAILLU.  The  Reconciliation  of  Jacob  and  Esau. 
Christ  in  the  Garden.  Dying  Magdalene,  supported  by  Angels. 
Combat  of  the  Lapithae. 

Engraver,  BARBE.  The  Holy  Family,  with  the  Infant  Jesus  em- 
bracing S.  John;  fine  and  scarce. 

Engraver,  BARTSCH.  The  Obsequies  of  Publius  Decius  Mus; 
large  plate. 

Engraver,  BLOOTELING  or  BLOTELING,  Abraham.  Two  Heads 
of  Children;  rare.  The  study  of  the  Head  of  a  Man;  A.  Bloteling, 
fee.  et  exc. ;  rare. 


526  RUBENS. 

Four  studies  of  Lions ;  inscribed,  Varie  Leonum  Icones,  a  P.  P. 

Engraver,  BOETIUS,  Christian  Frederick.  A  Woman  holding  a 
Pot  of  Coals,  and  a  Boy  blowing. 

Engraver,  BOLSWERT,  Boetius  Adam.  Judgment  of  Solomon. 
Resurrection  of  Lazarus;  very  fine.  The  Last  Supper,  P.  P.  Rubens, 
pinx. ;  Boet.  A.  Bolswert,  sc.  ;  very  fine. 

Engraver,  BOLSWERT,  Scheltius  A.  The  Brazen  Serpent;  the 
best  impressions  have  the  word  Antwerpice  at  the  right  hand  corner, 
without  the  name  of  G.  Hendrix.  The  Marriage  of  the  Virgin ;  the 
best  impressions  have  the  name  of  Hendrix,  without  the  word 
Antwerpice.  The  Annunciation;  the  best  impressions  have  the 
address  of  M.  Vanden  Enden.  The  Nativity;  best  impressions  same 
address.  The  Adoration  of  the  Magi;  the  same.  Return  of  the 
Holy  Family  from  Egypt;  the  same.  The  Feast  of  Herod,  with 
Herodias  presenting  the  Head  of  S.  John  to  her  Mother.  The 
Miraculous  Draught  of  Fishes;  in  three  plates.  Christ  crucified 
between  the  Thieves;  G.  Hendrix,  exc.  The  Crucifixion;  a  Soldier 
on  Horseback  piercing  the  Side  of  the  Saviour;  1631;  extremely 
fine.  The  Crucifixion,  with  Jerusalem  in  the  distance ;  M.  Vanden 
Enden,  exc.  The  Dead  Christ  in  the  Lap  of  the  Virgin,  with  S. 
Francis.  The  Resurrection  ;  M.  Vanden  Enden,  excudit.  The  As- 
cension; the  same.  The  Four  Evangelists.  The  Fathers  of  the 
Church;  NIC.  Lawers,  exc.  The  Destruction  of  Idolatry;  in  two 
sheets ;  the  same.  The  Triumph  of  the  Church ;  in  two  sheets ;  the 
same.  The  Immaculate  Conception;  Ant.  Bonenfant,  exc.  The 
Assumption;  arched;  M.  Vanden  Enden,  exc.  The  Assumption, 
with  one  of  the  Disciples  lifting  the  Stone  of  the  Sepulchre ;  the  im- 
pressions with  the  address  of  G.  Hendrix  are  posterior;  and  those 
with  the  name  of  C.  Van  Merlen  are  retouched.  The  Infant  Jesus 
embracing  the  Virgin ;  M.  Vanden  Enden,  exc.  The  Virgin  holding 
a  Globe,  and  the  Child  holding  a  Sceptre.  The  Holy  Family,  with 
the  Infant  Jesus  and  S.  John  caressing  a  Lamb.  The  Holy  Family, 
with  a  Parrot  on  a  Pillar;  A.  Bonenfant,  exc.  S.  Ignatius  and  S. 
Francis  Xavier.  Education  of  the  Virgin  by  S.  Anne;  the  best 
impressions  are  without  the  name  of  Hendrix.  S.  Cecilia;  very  fine. 
S.  Theresa  at  the  Feet  of  Christ,  interceding  for  the  Souls  in  Pur- 
gatory; M.  Vanden  Enden,  exc.  The  Continence  of  Scipio.  Silenus 
drunk,  supported  by  a  Satyr,  with  another  Figure ;  best  impressions 
have  the  name  of  Bolswert  only,  without  the  address. 

Engraver,  BORREKENS,  Matthew.  The  Immaculate  Conception; 
Rubens,  pinx.  ;  M.  Vanden  Enden,  exc.  S.  Francis  Xavier;  on  a 
white  ground;  same  inscription.  S.  Ignatius;  same  inscription.  S. 
Barbara,  with  a  Tower  on  her  Head ;  Rubens,  pinx. ;  Matthew  Bor- 
rekens,  sc. ;  scarce. 

Engraver,  CAUKERKEN,  Cornelius  Van.  The  Roman  Charity. 
S.  Anne  with  the  young  Virgin  Mary.  The  Martyrdom  of  S. 
Lievinus;  the  best  impressions  are  before  the  name  of  De  Hollander. 


RUBENS.  527 

Engraver,  CAYLUS,  Anne  Claude  Philippe,  Compte  de.  A  set  of 
thirty  Heads  after  Rubens  and  Vandyck,  from  the  Crozat  Coll. 

Engraver,  CHAMBERS,  Thomas.     S.  Martin  dividing  his  Cloak. 

Engraver,  CHASTILLON,  Louis  de.  The  Fates  spinning  the  Destiny 
of  Mary  de'  Medici. 

Engraver,  CLOUET,  Peter.  The  Descent  from  the  Cross;  Rubens, 
pinx.;  C.  J.  Meyssens,  exc.  The  Epitaph  of  Rubens,  with  acces- 
sories. The  Death  of  S.  Anthony;  Rubens,  pinx. ;  fine  and  scarce, 
S.  Michael  discomforting  the  Evil  Spirit;  Rubens,  pinx.  The  Garden 
of  Love;  the  first  impressions  have  Flemish  verses ;  fine  and  scarce. 

Engraver,  COLLAERT,  Hans.  The  Title  tothe"Biblia  Sacra;" 
fine.  The  Title  to  the  "  Kerkelyke  Historie;"  fine.  The  Title  to 
the  "Vaders  Boeck;"  fine.  Twelve  plates  for  the  Missal  of 
Moretus.  Subjects  from  the  life  of  Christ  and  the  Virgin. 

Engraver,  COLLIN,  Richard.     Esther  before  Ahasuerus. 

Engraver,  DALEN,  Cornelius  Van.  The  Four  Fathers  of  the 
Church.  Nature  adorned  by  the  Graces. 

Engraver,  DOES,  Anthony  Van  der.  The  Marquis  of  Castello 
Rodrigo. 

Engraver,  DUCHANGE,  Gaspar.  Five  of  the  plates  of  the  Luxem- 
bourg Gall. 

Engraver,  EARLOM,  Richard.  Rubens'  Wife;  Rubens,  pinx.  The 
Holy  Family.  The  Magdalene  washing  the  Feet  of  Christ.  Nymphs 
and  Satyrs.  Meleager  and  Atalanta.  The  Death  of  Hippolitus. 
Rubens'  Son  and  his  Nurse,  with  Fruit  on  a  Table. 

Engraver,  ERTINGER,  Francis.  The  History  of  Achilles,  in  eight 
plates. 

Engraver,  EXSHAU,  S.  A  Girl  carrying  a  Basket  of  Cherries,  with 
two  Boys,  each  carrying  a  Gun. 

Engraver,  FABER,  John,  the  Elder.  The  Heads  of  the  Philoso- 
phers. 

Engraver,  FAUCCI,  Carlo.  The  Crowning  of  the  Virgin.  A  Bac- 
chanalian subject. 

Engraver,  FESSARD,  Stephen.     A  Flemish  Festival. 

Engraver,  GALLE,  Cornelius,  the  Elder.  John  Van  Havre.  The 
Virgin  Mary  under  an  Arch  ornamented  with  Flowers  by  an  Angel. 
Judith  cutting  off  the  Head  of  Holofernes;  fine.  The  Four 
Fathers  of  the  Church.  Progne  showing  the  Head  of  her  Son  to  her 
Husband.  Seneca  in  the  Bath.  A  Naked  Woman  grinding  Colors. 

Engraver,  GALLE,  Cornelius,  the  Younger.  Venus  suckling  the 
Loves. 

Engraver,  GAYWOOD,  Robert.     A  set  of  Lions  and  Leopards. 

Engraver,  GOUPY,  Joseph.     Diana  hunting  with  her  Nymphs. 

Engraver,  GREEN,  Valentine.  The  Descent  from  the  Cross.  The 
Visitation.  The  Presentation  in  the  Temple. 

Engraver,  JEGHER,  Christopher.     Bust  of  a  man  with  a  thick 


528  RUBENS. 

Beard ;  in  chiaroscuro.  Susanna  and  the  Elders.  The  Repose  in 
Egypt.  The  Infant  Jesus  and  S.  John  playing  with  a  Lamb.  Coro- 
nation of  the  Virgin.  Temptation  of  Christ.  Hercules  destroying 
Fury  and  Discord.  Silenus  drunk,  supported  by  two  Satyrs.  The 
Garden  of  Love. 

Engraver,  JODE,  Peter  de,  the  Elder.  The  Decollation  of  S. 
John;  oval;  scarce.  Christ  giving  the  Keys  to  S.  Peter;  fine; 
the  best  impressions  are  before  the  address  of  Vanden  Enden.  The 
crowning  of  S.  Catherine. 

Engraver,  KASSEL,  Theodore.  An  allegorical  subject  of  Abundance. 
A  set  of  four  plates  representing  the  Triumph  of  Galatea.  A  Triton 
embracing  a  Sea  Nymph.  A  Nymph  in  the  Arms  of  a  Sea  God,  and 
a  Faun  seated  on  a  Rock  with  two  Children  and  a  Goat.  A  Boar 
Hunt.  A  Landscape  with  a  Man  driving  a  Cart,  and  a  Man  and 
Woman  with  Oxen.  A  Landscape  (a  companion)  called  "  The 
Milkmaid." 

Engraver,  LASNE,  Michael.  The  Holy  Family.  S.  Francis  of 
Assisi  receiving  the  Infant  Jesus  from  the  Virgin.  S.  Francis  de 
Paula  receiving  the  Infant. 

Engraver,  LAUNAY,  Nicholas  de.     The  March  of  Silenus. 

Engraver,  LAUWERS,  Nicholas.  Portrait  of  Isabella,  Infanta  of 
Spain,  and  two  Children.  The  Adoration  of  the  Magi.  Christ  be- 
fore Pilate.  The  Descent  from  the  Cross.  A  Pieta,  with  Mary 
Magdalene.  The  Trumph  of  the  New  Law ;  in  two  sheets. 

Engraver,  LAWRIE,  Robert.     The  Nativity. 

Engraver,  LEEUW,  William  de.  Lot  and  his  Daughters.  Daniel 
in  the  Lion's  Den.  The  Mater  Dolorosa;  scarce.  The  Martyrdom 
of  S.  Catherine;  fine  and  scarce.  Four  large  plates  of  huntings, 
namely,  the  Lion  Hunt,  the  Boar  Hunt,  the  Wolf  Hunt,  and  the 
Hunting  of  the  Crocodile  and  Hippopotamus. 

Engraver,  LEMPEREUR,  Louis  Simon.    The  Garden  of  Love. 

Engraver,  LOIR,  Alexis.  The  Education  of  Mary  de'  Medici. 
Time  discovering  Truth. 

Engraver,  LOUYS  or  LOYS,  John.  Louis  XHL,  King  of  France. 
Anne  of  Austria.  Philip  IV.,  King  of  Spain.  Elizabeth  of  Bourbon. 
Diana  and  her  Nymphs  resting  after  the  Chase. 

Engraver,  MARINUS,  Ignatius.  The.  Flight  into  Egypt;  a  night 
piece.  S.  Ignatius  curing  the  Sick.  S.  Francis  Xavier  reviving  a 
Dead  Person. 

Engraver,  MARK,  Quintin.  Susanna  and  the  Elders.  Alexander 
and  Diogenes. 

Engraver,  MASSE",  John  Baptist.  Mary  de'  Medici,  Queen  of 
Henry  IV. 

Engraver,  MASSON,  Anthony.  The  Assumption  of  the  Virgin; 
fine  and  scarce.  The  Brazen  Serpent;  in  two  sheets;  fine. 

Engraver,  MATHAM,  James.     Samson  and  Delilah. 


RUBENS.  529 

Engraver,  MEYSSENS,  John.  Meleager  presenting  the  Boar's 
Head  to  Atalanta. 

Engraver,  MICHEL,  John  Baptist.  The  Three  Graces.  Faith, 
Hope,  and  Charity. 

Engraver,  MULLER,  John.  Albert,  Archduke  of  Austria.  Isa- 
bella, Infanta  of  Spain. 

Engraver,  NATALIS,  MICHAEL.    Mary  washing  the  Feet  of  Christ. 

Engraver,  NEEF  or  NEEFS,  James.  The  Fall  of  the  Angels.  The 
Meeting  of  Abraham  and  Melchisedec.  The  Crucifixion,  with  the 
Virgin  and  S.  John.  S.  Augustine.  Martyrdom  of  S.  Thomas. 
The  Judgment  of  Paris,  and  the  Triumph  of  Galatea;  called  the 
Ewer  of  Charles  I.;  scarce. 

Engraver,  PANNEELS,  William.  Portrait  of  Rubens ;  in  an  octa- 
gon border.  Esther  before  Ahasuerus.  The  Nativity.  The  Adora- 
tion of  the  Magi.  Mary  washing  the  Feet  of  Christ.  The  Assump- 
tion of  the  Virgin.  The  Holy  Family,  with  the  Infant  Christ  and  S. 
John  playing  with  a  Lamb.  Baptism  of  Christ.  Samson  killing  the 
Lion.  David  killing  the  Lion  and  the  Bear.  S.  Sebastian.  Jupiter 
and  Antiope.  Jupiter  and  Juno.  Bacchus,  drunk,  supported  by  a 
Faun  and  a  Satyr.  Bacchus  supported  by  Satyrs  and  Bacchante. 
Meleager  presenting  the  Head  of  the  Boar  to  Atalanta. 

Engraver,  PETHER,  William.     Rubens'  Second  Wife. 

Engraver,  PICOT,  Victor  Maria.  The  four  Evangelists.  Diana 
and  her  Nymphs. 

Engraver,  PILSEN,  Francis.  The  Virgin  and  Infant  Jesus.  The 
Conversion  of  S.  Bavon.  The  Judgment  of  Midas.  S.  Francis; 
F.  Pilsen,  sculp.  G.  1770. 

Engraver,  PONTIUS,  Paul.  Philip  IV.,  King  of  Spain;  1632. 
Elizabeth  of  Bourbon,  his  Queen.  Isabella  Clara  Eugenia,  Infanta 
of  Spain.  Ferdinand,  Infant  of  Spain,  on  Horseback.  Duke  of 
Olivarez;  very  fine.  Christoval,  Marquis  of  Castel  Rodrigo ;  fine 
and  scarce.  Manuel  de  Monra  Cortereal,  Marquis  of  Castel  Ro- 
drigo; fine  and  scarce.  The  Mother  of  Manuel;  fine  and  scarce. 
Susanna  and  the  Elders;  1624.  Adoration  of  the  Shepherds.  Mur- 
der of  the  Innocents  ;  in  two  sheets;  1643;  very  fine.  Presentation 
in  the  Temple.  Christ  bearing  his  Cross ;  fine.  The  Crucifixion, 
with  Angels,  one  of  which  is  overcoming  Sin  and  Death.  The  Dead 
Christ,  supported  by  the  Virgin,  with  Mary  Magdalene,  S.  Francis, 
and  other  figures ;  very  fine.  Descent  of  the  Holy  Ghost.  Assump- 
tion of  the  Virgin.  The  Virgin  suckling  the  Infant.  S.  Roch  inter- 
ceding with  Christ  for  those  afflicted  with  the  Plague;  very  fine. 
Thomyris  causing  the  Head  of  Cyrus  to  be  put  into  a  Vessel  of 
Blood;  fine. 

Engraver,  PREISLER,  John  Justin.     Part  of  the  plates  from  the 
Ceilings  in  the  ch.  of  the  Jesuits  at  Antwerp,  with  the  frontispiece 
containing  Portraits  of  Rubens  and  Vandyck. 
34 


532  RUSTICI  —  RUYSDAEL. 

of  S.  John  Baptist.  The  forms  (especially  the  nude  figure)  are 
grand  in  freedom  of  action,  and  the  drapery  is  in  Ghiberti's  pure 
style.  The  guild  of  merchants  who  ordered  it  failed  to  pay  the  price 
agreed  on,  and  this  so  depressed  Rustici  that  he  undertook  no  more 
large  works.  After  the  expulsion  of  the  Medici  from  Florence  he 
went  to  France,  and  was  variously  employed  by  Francis  I.  But  here 
disappointment  followed  the  old  man,  for  he  was  engaged  at  the  time 
of  the  King's  death  in  modelling  a  colossal  equestrian  statue  of  him. 
Rustici  did  not  long  survive  his  patron. 

Ruysch,  Rachel,  born  at  Amsterdam  (1664-1750).  Daughter  of 
the  celebrated  professor  of  anatomy,  and  pupil  of  Willem  van  Aelst. 
She  devoted  herself  to  flower  painting.  Her  single  specimens  are 
excellent,  but  her  power  of  combining  many  in  artistic  arrangement 
was  not  so  good.  She  painted  until  she  was  eighty  years  old.  She 
married,  but  always  signed  her  works  with  her  maiden  name.  She 
introduced  insects  into  her  pictures,  which  were  admirably  drawn  and 
finished.  Her  color  was  cool,  like  that  of  her  teacher.  The  Hague 
and  Munich  galleries  have  pictures  by  this  paintress. 

Ruysdael,  Solomon,  born  at  Haarlem  (1610-1670).  Pupil  of 
Jan  van  Goyen.  His  pictures  are  usually  views  of  canals  bordered 
with  trees  and  houses,  monotonous  and  thoroughly  Dutch.  Some  of 
his  best  works  are  in  the  Munich,  Dresden,  and  Berlin  galleries. 

Ruysdael,  Jacob,  born  at  Haarlem  (16257-1681).  Younger 
brother  and  probably  a  pupil  of  Solomon.  He  is  emphatically  the 
first  of  Dutch  landscape  painters.  He  most  frequently  represented 
the  level,  uninteresting  scenery  of  Holland ;  these  pictures  are  almost 
melancholy,  but  his  excellent  drawing,  his  perfect  management  of 
chiaro-scuro,  his  powerful,  warm  color,  and  his  admirable  execution 
combine  to  make  up  a  rare  perfectness.  There  is  great  variety  in 
his  touch;  he  knew  how  to  use  his  brush  in  the  most  minute,  and 
also  in  the  broadest  manner.  He  especially  loved  to  represent  a  wide 
expanse  as  if  viewed  from  an  elevation,  and  frequently  placed  the 
spires  of  a  town  in  the  far  distance.  He  painted  some  sea  views  in 
which  the  water  was  always  agitated  and  often  very  rough,  and  the 
sky  heavy  with  clouds.  Very  rarely  he  represented  hills  and  rocks 
with  foaming  cataracts ;  a  few  pictures  have  a  dark  lake  at  the  base 
of  a  rocky  steep  ;  there  is  in  these  a  sort  of  fascinating  gloom  rarely 
expressed  in  painting.  In  some  of  his  dark  pictures  he  introduced 
gleams  of  sunshine,  which  are  extremely  picturesque  in  effect.  He 
deeply  felt  the  poetry  of  the  Northern  nature  about  him,  and  ren- 
dered it  most  happily.  His  pictures  number  about  448,  and  are  seen 
in  all  large  European  galleries;  there  are  many  (more  than  100),  in 
private  English  collections.  "The  Chace,"  the  "  Monastery,"  and 
the  "  Jewish  Cemetery,"  in  the  Dresden  Gall.,  are  all  masterpieces. 
He  also  left  seven  spirited  etchings  executed  in  a  slight  but  effective 
manner. 


RYCKAERT  —  SACCHI.  533 

Ryckaert,  David,  born  at  Antwerp  (1615-1662?).  The  third 
painter  of  his  name.  He  was  instructed  by  his  father,  and  devoted 
himself  to  interiors  with  peasants,  fairs,  etc.  His  coloring  is  clear 
and  golden ;  his  heads  are  animated,  and  although  inferior  to  Te- 
niers,  he  often  approaches  him  in  excellence.  The  Vienna  and  Dres- 
den galleries  have  fine  examples  of  his  works ;  in  the  former  there  is 
a  "  Village  Fete,"  and  a  "  Schatzgraberin  "  (a  seeker  for  hidden 
treasures) ,  which  is  very  curious.  The  scene  is  laid  in  a  cave  lighted 
by  a  fire,  and  Ryckaert  especially  excelled  in  firelight  effects.  In 
1652  this  master  was  Dean  of  the  Guild  of  S.  Luke,  at  Antwerp. 

Ryn.     See  Rembrandt. 

Rysbraek,  Peter,  born  in  Antwerp  (1655-1729?).  A  pupil  of 
Jean  F.  Millet  in  Paris.  He  settled  in  Antwerp  after  the  completion 
of  his  studies.  His  principal  works  are  landscapes  with  Biblical  or 
mythological  figures.  Suc>  is  a  fine,  large  landscape  in  the  Berlin 
Mus.,  with  the  Baptism  of  L  irist  in  the  foreground.  The  Antwerp 
and  Dresden  galleries  have  v  ^rks  of  his,  but  they  are  not  often  seen 
in  public  collections.  He  also  executed  six  etchings,  which,  while 
not  especially  attractive,  are  yet  remarkable  in  composition. 

Rysbraek,  Michael,  born  at  Antwerp  (1693-1770).  Son  of 
Peter  Rysbraek  and  a  good  sculptor.  In  1720  he  went  to  England, 
where  he  executed  many  monuments  and  statues  still  seen  in  the 
churches  of  that  country.  They  have  no  claim  to  extended  notice. 


Sabbatini,  Andrea,  called  Da  Salerno.  Born  at  Salerno  (1480- 
1545).  Son  of  a  rich  merchant  who  intended  him  for  the  same  oc- 
cupation, but  allowed  him  to  follow  his  desire  to  be  a  painter,  and 
placed  him  in  Naples  for  instruction.  Having  seen  some  works  of 
Perugino's  he  went  in  pursuit  of  him,  but  before  reaching  Perugia 
was  turned  aside  by  the  fame  of  Raphael,  whose  scholar  and  assistant 
he  became.  His  father's  death  called  him  away  from  Rome,  and  he 
settled  in  Naples,  where  his  best  works  are  seen  in  the  Museo  Bor- 
bonico  and  several  churches ;  they  are  rare  out  of  that  city. 

Sabbatini,  Lorenzo,  called  Da  Bologna.  Flourished  about  the 
middle  of  the  16th  century.  A  mannered  painter  of  the  degenerate 
Bolognese  school.  A  Madonna  in  the  Berlin  Mus.  is  one  of  his  best 
works. 

Sacchi,  Pier  Francesco.  Flourished  about  1520.  A  painter 
entirely  wanting  in  flexibility  and  grace.  His  works  are  seen  in  the 
Louvre  and  at  Berlin. 

Sacchi,  Andrea,  born  at  Rome  (1598-1661).  Pupil  of  Albani, 
and  a  sincere  admirer  of  Raphael.  He  was  not  equal  to  Giulio  Ro- 
mano in  invention,  but  his  color  was  good,  and  he  practised  a  sim- 
plicity of  treatment  which  is  the  mark  of  great  artistic  power.  His 


534  SACCHI  —  SANDRART. 

picture  of  S.  Romualdo,  in  the  Vatican,  is  a  far-famed  work;  the 
saint  is  relating  a  vision  to  five  brother  monks;  they  are  all  clothed 
in  white,  and  this  is  relieved  by  the  shadow  of  a  large  tree,  in  so 
skilful  a  manner  as  to  obviate  the  feeling  of  want  of  varied  color 
which  would  be  expected.  It  has  been  called  one  of  the  finest  pic- 
tures in  Rome.  The  characteristics  of  Sacchi's  works  are  gravity, 
simplicity,  and  harmonious  tone. 

Sachtleven,  Cornelia,  born  at  Rotterdam  (1612-1682?).  A 
painter  of  interior  scenes,  poultry,  and  various  homely  or  domestic 
subjects.  His  design  far  excelled  his  color,  and  his  execution  was 
very  careful.  His  poultry  are  marvellously  to  the  life.  His  works 
are  at  Dresden,  and  in  the  Cologne  Mus.  there  is  a  "  Concert  of 
Cats,"  with  an  owl  leading,  which  is  good.  The  few  etchings  by  this 
artist  are  cleverly  done. 

Sadeler.     This  is  the  name  of  a  family  of  engravers  numbering 

$•  not  less  than  six.  They  flourished  from  1575  to  1670.  Brussels 
was  their  home.  John,  Raphael,  and  Giles  were  the  more  im- 
portant. Their  plates  are  numerous  and  are  executed  almost 
entirely  with  the  graver.  John  and  Raphael  were  brothers,  and  set- 
tled in  Venice,  where  they  executed  many  works,  and  where  Mar- 
cus, one  of  the  younger  ones,  was  a  well-known  publisher  of  prints. 

Saenredam,  John,  born  at  Leyden  (1570-1607).  Pupil  of 
Goltzius.  His  skill  in  the  use  of  the  needle  could  hardly  be  sur- 
passed, but  his  subjects  were  too  often  distorted  forms,  which  dis- 
played his  execution  without  being  pleasing  as  a  whole.  Some  of 
his  works  are  now  prized  highly  on  account  of  their  rarity. 

Salerno,  Andrea  da.     See  Sabbatini. 

Salmeggia,  Enea,  called  II  Talpino,  born  at  Bergamo  (1556- 
1626).  A  successful  imitator  of  Raphael.  His  best  works  are  in 
the  churches  and  Gall,  of  Milan. 

Salviati,  Cecchiiio  del.  So  called  from  Card.  Salviati  who  was 
his  friend  and  patron.  Real  name  Francesco  Rossi  (1510-1563). 
He  was  an  important  artist  of  his  time,  but  that  time  was  one  of 
decline  in  everything  but  technical  skill;  this  was  well  developed. 
Salviati  worked  in  Venice,  Florence,  and  Rome,  and  visited  France, 
where  he  did  not  remain  long.  There  is  a  small  picture  of  "  Charity  " 
in  the  National  Gall.,  by  this  artist. 

Salvi,  Gio.  Battista,  called  Sassoferrato  from  his  birthplace 
(1605-1685).  Supposed  to  have  been  a  pupil  of  Domenichino.  He 
copied  after  Raphael,  Titian,  and  Perugino,  with  good  effect.  His 
favorite  subjects  for  original  pictures  were  Holy  Families  and 
Madonnas,  and  in  these  he  showed  deep  feeling;  they  are  sweet  in 
expression,  pleasing,  and  sometimes  finished  with  great  care. 

Sanchez-Coello.     See  Coello. 

Sanchez-Cotan.     See  Cotan. 

Sandrart,  Joachim  von,  born  at  Frankfort  (1606-1688).     This 


SANDKABT  —  SANGALLO.  535 

artist  deserves  mention  fully  as  much  for  his  writings  upon  art,  as 
for  his  pictures.  His  literary  work  was  voluminous  and  valuable. 
He  acquired  some  distinction  in  his  day  as  a  painter  of  history  and 
portraits.  He  is  said  to  have  visited  England,  from  which  he  went 
to  Italy,  where  he  passed  some  time  in  Rome  and  Venice.  After 
his  return  to  Germany  he  lived  at  Amsterdam  and  Stockau,  but 
settled  at  Nuremburg,  where  he  published  his  books.  His  pictures 
are  seen  in  many  Continental  galleries.  Perhaps  his  best  work  is  in 
the  Town  Hall  of  Amsterdam,  and  represents  the  Archers  Company 
of  that  city,  at  the  entry  of  Mary  de'  Medicis. 

Sandvoord,  D.  D.  Very  little  is  known  of  this  painter  beyond 
his  name.  A  picture  of  four  ladies,  called  the  "  Regent  "  picture, 
proves  that  he  was  more  skilled  in  portraits  than  in  historical  paint- 
ing ;  of  the  latter  see  his  "  Christ  at  Emmaus  "  in  the  Louvre.  The 
first  picture  is  in  the  "  Werkhuys  "  at  Amsterdam,  and  is  dated 
1638. 

Sangallo,  Giuliano  di,  born  at  Florence  (1443-1517).  One  of 
the  most  famous  architects  and  engineers  of  his  time  in  Italy.  Early 
in  life  he  practised  wood-carving  with  his  brother  Antonio.  He  was 
afterwards  much  employed  as  an  architect  by  Lorenzo  de'  Medici. 
While  Alexander  VI.  was  Pope,  Sangallo  was  employed  in  Rome, 
and  when  Julius  II.  succeeded  to  the  pontificate  he  expected  to  be 
appointed  architect  of  S.  Peter's,  but  Bramante  was  chosen  instead. 
When  Leo  X.  became  Pope,  he  offered  the  post  to  Sangallo,  who 
then  declined  on  account  of  his  age  and  infirmities.  Michael 
Angelo  was  a  friend  to  Giuliano  di  Sangallo  and  was  much  with 
him  in  Rome. 

Sangallo,  Antonio  di  (14507-1534).  Brother  of  Giuliano  and 
induced  by  him  to  abandon  wood-carving  for  the  study  of  architec- 
ture. He  completed  a  palace  commenced  by  his  brother  at  Savona, 
and  went  to  Rome.  Alexander  VI.  employed  him  to  convert  the 
Mausoleum  of  Hadrian  into  a  fortress,  the  Castle  of  S.  Angelo. 
The  ability  which  Antonio  then  displayed  established  his  fame,  and 
he  was  employed  in  many  important  works. 

Sangallo,  Antonio  di,  born  at  Mugello  (about  1482-1546).  The 
nephew  of  the  two  preceding  architects.  His  name  was  Picconi, 
but  he  adopted  his  mother's  name,  Sangallo.  He  was  instructed  by 
his  uncles,  and  afterwards  by  Bramante.  The  Card.  Alexander 
Farnese,  afterwards  Paul  III.,  was  his  patron,  and  employed  him  to 
build  his  palace  in  the  Campo  di  Fiori,  which  is  one  of  the  finest 
structures  of  Rome.  Other  works  of  his  were  the  restoration  of  the 
Vatican,  the  erection  of  the  Pauline  chapel,  a  palace  for  himself  in 
the  Strada  Giulia,  and  the  wonderful  model  of  S.  Peter's  now  pre- 
served in  the  Vatican.  He  was  appointed  architect  of  S.  Peter's  in 
1536,  and  did  a  great  work  there  in  enlarging  the  piers  and  strength- 
ening the  foundations. 


536 


SANGALLO  -  SANSAVINO. 


Sangallo,  Bastiano  di,  born  at  Florence  (1481-1551).  A  cousin 
of  the  preceding  and  called  Aristotile  from  his  knowledge  of  per- 
spective. He  studied  under  Perugino,  and  then  copied  the  famous 
cartoon  of  Michael  Angelo  with  great  diligence.  He  distinguished 
himself  later,  in  Florence,  both  as  an  architect  and  painter,  and 
Vasari  has  written  of  him  at  some  length. 

Sangallo,  Francesco  (1498-1570).  Son  of  Giuliano.  Pupil  of 
Andrea  Sansavino.  His  chef-d'oeuvre  was  the  statue  of  a  superior 
of  the  Florentine  Certosa,  and  is  in  the  centre  of  a  chapel  of  that 
convent;  he  is  but  mediocre  when  compared  with  the  great  masters 
of  the  15th  century. 

Sansavino,  Andrea  Contucci  di  Monte,  born  at  Monte  San 
Savino  (1460-1529).  Every  one  who  has  studied  the  rise  and 


BRONZE  GROUP  OF  THE   BAPTISM  OF  CHRIST. 
ABOUT   1500. 


BY  ANDREA   SANSAVINO, 


progress  of  the  art  of  sculpture  knows  that  in  the  early  part  of  the 
1 5th  century  it  was  at  its  best  in  Tuscany,  and  although  Michael 
Angelo  came  after  this,  he  was  one  of  the  rare  men  who  are  governed 
by  no  time  or  circumstance.  Of  the  artists  who  followed  this  best 
time,  Andrea  Sansavino  is  one  of  the  very  best.  His  father  was  a 


SANSAVINO.  537 

shepherd,  and  while  employed  in  the  duties  of  his  station,  like 
Giotto,  he  made  pictures  on  the  stones,  and  like  him  found  an  ap- 
preciative friend.  He  was  sent  to  Florence,  to  the  studio  of  Polla- 
juolo.  He  made  sober,  steady  progress,  characterized  by  no  great 
individuality  or  remarkable  display  of  power.  When  thirty  years 
old,  he  was  appointed  architect  and  sculptor  to  the  King  of  Portugal. 
In  1500  he  returned  to  Florence,  and  some  years  later  went  to  Rome, 
where  Julius  H.  commissioned  him  to  erect  two  monuments  to  the 
Cardinals  Rovere  and  Sforza,  in  the  ch.  of  S.  Maria  del  Popolo. 
They  were  his  best  works,  but  their  style  is  not  pure ;  the  principal 
figures  are  placed  in  uneasy  positions,  and  are  in  the  midst  of  too 
many  statuettes  and  ornamentations,  which  turn  the  eye  and  the  mind 
from  the  main  point  of  interest.  A  "Madonna  and  Child,  with  S. 
Anne,"  which  he  executed  for  the  ch.  of  S.  Agostino,  was  much 
praised  at  the  time.  In  1513  he  was  sent  to  Loreto  by  Leo  X.,  to 
adorn  with  bas-reliefs  the  temple  which  encloses  the  Santa  Casa. 
The  most  that  can  be  said  in  praise  of  these  is,  that  those  which 
JSansavino  executed  are  the  best,  but  they  show  but  too  plainly  the 
change  in  sculpture  of  which  we  have  spoken  above.  Perhaps  if  he 
had  not  worked  at  the  same  time  with  Raphael  and  Buonarotti,  his 
works  would  seem  more  noble,  and,  indeed,  his  work  at  Loreto  was 
mingled  with  that  of  so  many  other  artists,  that  it  is  most  difficult  to 
criticise  it.  Liibke  very  much  admires  the  Madonna  group  at  S. 
Agostino,  and  calls  it  "  one  of  the  most  beautiful  detached  groups  of 
modern  art." 

Sans  a  vino,  Jacopo,  real  name  Jacopo  Tatti  (1477-1570).  Soon 
after  Andrea  Sansavino  returned  from  Spain,  Jacopo  became  his 
scholar,  and  took  his  name  from  his  master.  He  is  identified  with 
Venice,  and  his  principal  works  are  there ;  but  before  he  went  to  that 
city  he  had  spent  some  time  in  Rome,  had  copied  from  the  antique 
there,  and  had  executed  the  "  Bacchus  "  now  in  the  Uffizi,  which  is 
one  of  the  finest  statues  conceived  by  any  modern  in  the  style  of  the 
antique.  In  1527  he  was  appointed  Protomastro  of  the  Republic  of 
Venice.  He  had  the  care  of  S.  Mark's,  the  Campanile,  the  Piazza, 
and  adjoining  buildings,  and  received  a  handsome  salary  and  a  good 
house  to  live  in.  He  first  restored  the  cupolas  of  S.  Mark's;  next  he 
completed  the  Scuola  della  Misericordia ;  then  he  built  the  interior 
of  S.  Francesco  della  Vigna;  then  the  Zecca,  the  Fabbriche  Nuove, 
and  the  Loggietta  of  the  Campanile.  But  the  chef-d'oeuvre  of  all  his 
Venetian  work  was  the  Public  Library.  He  also  erected  several 
palaces  and  churches  not  yet  mentioned,  besides  other  minor  pieces 
of  statuary.  He  was  occupied  to  the  last  day  of  his  life,  and  had 
labored  forty-one  years  in  Venice.  Space  does  not  allow  a  minute 
examination  of  his  many  works.  He  had  a  most  prosperous  career, 
and  good  opportunities  for  the  full  development  of  all  his  powers. 
His  works  were  too  much  ornamented,  and  consequently  his  single 


538 


SANSAVINO  —  SANTAFEDE. 


figures  were  his  best.  He  established  schools  in  Florence,  Rome, 
and  Venice,  and  upon  the  latter  city  he  impressed  himself  as  few 
masters  have  ever  been  able  to  do,  for  go  where  you  will  in  Venice, 


THE   ENTOMBMENT  OF   CHRIST.      BY  JACOPO   SANSAVINO. 

From  the  Bronze  Gate  of  the  Sacristy  of  S.  Mark,  Venice. 

some  work  of  his  meets  the  eye;  and  when  we  consider  how  versatile 
were  the  works  demanded  of  him,  we  cannot  be  surprised  that  some 
should  lack  deep  feeling,  and  seem  to  us  conventional  and  superficial. 

Santa-Croce,  Francesco  Rizzo  da.  Flourished  1507-1529.  A 
feeble  painter,  and  an  imitator  of  Carpaccio  and  Gio.  Bellini.  But 
few  of  his  works  are  known,  and  these  merit  no  especial  notice. 

Santa-Croce,  Girolamo  Rizzo  da.  Flourished  1520-1549.  There 
are  few  European  galleries  that  have  not  specimens  of  the  pictures 
of  this  painter,  who  was  pretty  and  tame  in  manner,  and  not  equal 
to  the  artists  of  his  time. 

Sautafede,  Francesco,  and  his  son  Fabrizio.  These  painters 
deserve  honorable  mention  among  the  pupils  of  Andrea  Sabbatini. 


SANTAFEDE  -  SARTO.  539 

Many  of  their  works  are  at  Naples.  The  father  flourished  about 
1555,  and  the  son  thirty-five  years  later. 

Santerre,  Jean  Baptiste,  born  at  Magny  (1651-1717).  Pupil 
of  Bon  Boullongne.  He  painted  portraits  principally;  they  are  well 
finished,  and  the  hands  deserve  special  attention.  Of  his  historical 
works,  the  best  is  "  Susanna  and  the  Elders,"  in  the  Louvre. 

Saraceno,  Carlo,  born  at  Venice  (1585-1625).  A  follower  of 
Caravaggio.  A  "  Miracle  of  S.  Bruno,"  in  S.  Maria  dell'  Anima,  at 
Rome,  and  i a  "  Judith,"  in  the  Manfrini  Gall.,  at  Venice,  are  attrac- 
tive pictures;  the  first  for  its  color  and  grace,  and  the  last  for  the 
expression  of  the  face  of  Judith  ;  her  old  servant  receives  the  head 
of  Holofernes  in  a  cloth,  which  she  holds  with  her  teeth  and  her 
right  hand ;  her  astonishment  is  well  expressed. 

Sargent,  Henry,  born  in  Gloucester,  Massachusetts,  in  1770. 
This  painter  followed  various  occupations ;  was  a  merchant  and 
soldier,  and  became  distinguished  in  political  life.  He  received  some 
instruction  from  West  and  Copley  in  London.  His  portrait  of  Peter 
Fanueil  is  in  the  hall  named  for  him ;  three  of  his  portraits  belong  to 
the  Massachusetts  Historical  Society,  and  his  "  Crucifixion  of  Christ " 
is  owned  by  the  Roman  Catholic  Society  of  Boston.  He  also  painted 
a  "  Dinner  and  Tea  Party,"  the  "  Tailor's  *News  "  and  the  "  Starved 
Apothecary."  He  spent  much  time  upon  a  representation  of  the 
"  Landing  of  the  Pilgrims,"  but  it  was  destroyed  by  being  rolled  on 
fresh  pine,  the  sap  of  which  caused  the  decay  of  the  picture,  so  that 
it  fell  to  pieces  in  unrolling. 

Sarrazin,  Jacques  (1588-1660).  Several  works  now  in  the 
Louvre  were  executed  by  this  sculptor,  among  which  the  bust  of  the 
Chancellor  Pierre  Seguier  is  worthy  of  notice. 

Sarto,  Andrea  del,  so  called  from  his  father's  trade  —  a  tailor's. 
Real  name  Andrea  Vanucchi  (1487-1531).  Pupil  of  Pietro  di 
Cosimo,  but  in  general  style  a  follower  of  Fra  Bartolommeo.  He 
confined  himself  to  religious  subjects,  but  his  pictures  wanted  what 
his  character  lacked,  namely,  earnestness,  determination,  sincerity, 
lie  did  not  choose  his  subjects  from  the  same  pious  motives  by  which 
the  holy  friar  was  governed.  It  is  incomprehensible  that  he  could 
ever  have  been  so  estimated  as  to  gain  the  title  of  "  the  faultless," 
but  in  order  to  be  best  appreciated  he  should  be  studied  in  Florence. 
His  frescoes  in  the  cloisters  of  the  convent  of  the  Nunziata,  and  at 
the  Scalzo,  are  the  best  of  his  works.  The  time  taken  for  them  was 
long,  and  his  progress  may  be  seen  in  them.  The  Madonna  del  Sacco 
(1525)  is  his  chef-d* ceuvre  in  wall  painting,  and  was  done  about  four- 
teen years  later  than  the  "Nativity,"  both  being  in  the  convent  of 
the  Servi  (Nunziata).  This  is  a  lunette  fresco  and  is  known  and 
praised  the  world  over.  The  easel  pictures  of  Andrea  are  in  all 
large  collections;  they  are  chiefly  Madonnas,  Holy  Families,  and 
altar-pieces  of  like  subjects.  They  are  by  no  means  of  the  highest 


540 


SARTO. 


type;  his  female  heads  are  all  representations  of  a  single  person, 
varied  only  by  changing  the  pose  ;  there  is  nothing  of  the  ideal.  A 
Madonna  in  the  Tribune  of  the  Florence  Gall,  is  one  of  his  very  best. 
The  private  life  of  Andrea  was  so  unfortunate  that  his  artistic  career 
could  but  be  weakened  by  it,  and  it  was  his  good  fortune  that  his 
fame  as  a  painter  was  not  destroyed,  as  was  his  reputation  for  hon- 
esty and  virtue.  He  be- 
came enamored  of  Lu- 
crezia  Fede  while  she 
was  still  a  wife,  and 
when  she  became  a 
widow  he  married  her, 
in  spite  of  his  knowl- 
edge of  her  vile  charac- 
ter and  the  opposition 
of  his  friends.  Her  in- 
fluence led  him  to  de- 
sert dependent  relatives 
whom  he  had  cared  for, 
to  commit  many  unwor- 
thy acts,  and  at  last  to 
appropriate  to  his  own 
use  a  large  sum  of 
money  with  which  he 
had  been  intrusted  by 
the  King  of  France  for 
the  purchase  of  works 
of  art.  He  had  received 
great  kindness  from 
Francis,  and  left  Paris 
with  this  money,  promising  to  return  to  fulfil  his  engagements ;  it 
is  said  he  took  an  oath  to  do  so ;  but  the  avarice  and  wickedness  of 
his  wife  prevailed,  and  all  that  could  have  made  Andrea  del  Sarto  a 
man,  was  lost.  Bitterly  he  repented,  but  Francis  could  never  forgive 
him,  and  the  world  has  never  forgotten  his  need  of  forgiveness.  Ten 
years  more  he  lived  and  painted,  and  to  the  last  was  fond  of  his  ill- 
starred  wife.  In  purity  and  dignity,  his  earlier  compositions  are  far 
the  best,  and  though  his  scope  was  never  large,  his  artistic  merits 
were  sufficient  to  gain  for  him  an  honorable  rank,  which  his  works 
will  always  hold. 

ENGRAVINGS   AFTER   THE   WORKS  OF   ANDREA   DEL   SARTO. 

Engraver,  ALBERTI,  Cherubino.  Baptism  of  Christ;  1579.  Mira- 
cle of  S.  Philip  Benizzo. 

Engraver,  AUDOUIN,  Pierre.     Charity. 

Engraver,  BLOEMAERT,  Cornelius.  Marriage  of  S.  Catherine  with 
S.  John. 


MADONNA.      BY  ANDREA  DEL  SARTO. 


SAETO  —  SAVERY.  541 

Engraver,  BONACINA,  Gio.  Battista.  Holy  Family  with  SS. 
Catherine  and  John. 

Engraver,  BOYER,  Jean  Baptiste.  ,  Marquis  d' Aiguilles.  Mar- 
riage of  S.  Catherine. 

Engraver,  BREBIETTE,  Peter.     Holy  Family,  with  S.  John. 

Engraver,  CALLOT,  James.  Virgin  and  Child,  with  SS.  Elizabeth 
and  John. 

Engraver,  CERACCI,  Agostino.     Nativity  of  the  Virgin. 

Engraver,  CAVALLERIIS,  Gio.  Battista.  S.  John  preaching  in  the 
Wilderness. 

Engraver,  DALCO.     Salvator  Mundi. 

Engraver,  FELSING,  Jacob.  Madonna  del  Trono,  or  di  S.  Fran- 
cesco. 

Engraver,  GHKGORI,  Ferdinando.     Holy  Family. 

Engraver,  LASINIO,  Gio.  Paolo,  together  with  other  engravers. 
Twelve  frescoes  of  Del  Sarto,  at  the  Scalzo,  in  Florence. 

Engraver,  LORKN/INI,  Gio.  Antonio.  Virgin  and  Child  appearing 
to  six  Saints.  Joseph  sold  by  his  Brethren.  Joseph  governing 
Egypt. 

Engraver,  MIRE,  Noel  de.     Death  of  Lucrezia. 

Engraver,  MIRICENUS,  Petrus.  Herod  ordering  the  imprisonment 
of  S.  John  Baptist. 

Engraver,  MOITTE,  Pierre  I^tiennc.  Holy  Family  of  the  Dresden 
Gall. 

Engraver,  MONTMARILLON,  Ludwig  Albert  von.     Holy  Family. 

Engraver,  MORGHEN,  Raifaello.    Madonna  del  Sacco.     Madonna 

ciil   li:iinliiii'>. 

Engraver,  Musis,  Agostino  de,  called  Veneziano.  The  Dead 
Christ,  with  Angels  ;  1516. 

EMjmn  i\  PKUFETTI,  Antonio.     Birth  of  the  Virgin. 

Engraver,  SAITER,  John  Gottfried.     Holy  Family. 

Engraver,  SAUNDERS,  Joseph.     Andrea  del  Sarto  ;  portrait. 

Engraver,  SCOTTO  or  SCOTTI,  Girolamo.  Healing  of  Children  by 
Virtue  of  the  Garments  of  S.  Philip. 

Engraver,  STEEN,  Francis  van  der.     Madonna  del  Sacco. 

Engraver,  SURRUGUE,  Louis.     Sacrifice  of  Abraham. 

En  graver,  TRENTO,  Antonio  da.     Holy  Family. 

Engraver,  ZUCCARELLI,  Francesco.  A  set  of  studies  designed  by 
Del  Sarto. 

Sassoferrato.     See  Salvi. 

Savery,  Roelandt,  born  at  Courtray  (1576-1639).  He  was  one 
of  a  class  who  came  up  in  his  time,  who  painted  all  sorts  of  animals, 
in  all  sorts  of  landscapes,  with  all  sorts  of  trees  and  plants,  and  gave 
them  all  sorts  of  names,  such  as  "  Adam  and  Eve  in  Paradise," 
"  Noah  leaving  the  Ark,"  etc.  Savery  was  almost  fantastic  in  man- 
ner, but  displays  a  poetic  imagination  in  landscape,  especially  in 


542  SAVERY  —  SCHEDONE. 

woods.  His  u  Paradise  "  in  the  Berlin  Mus.  is  a  good  specimen  of 
his  works. 

Savoldo,  Girolamo,  born  at  Brescia.  Flourished  about  1540. 
An  imitator  of  Titian.  He  was  an  able  artist,  no  doubt,  but  his  his- 
tory is  not  well  known,  and  it  is  difficult  to  speak  of  him.  Some 
good  critics  believe  that  his  works  are  in  many  galleries  and  are 
attributed  to  other  painters.  His  works  are  seen  in  the  Manfrini, 
Uffizi,  and  Berlin  galleries. 

Scanabecchi.     See  Dalmasio. 

Scaramuccia,  Luigi,  called  II  Perugino  (1616-1680).  He  was 
not  only  a  painter,  but  also  a  teacher,  and  a  writer  on  art.  He  was 
a  pupil  of  Guide's  and  settled  at  Milan  where  he  had  his  school.  He 
published  in  1674  at  Pavia  a  work  on  the  excellences  of  the  Italian 
painters.  His  portrait  is  in  the  Acad.  of  S.  Luke  at  Rome,  of  which 
he  was  a  member. 

Schadow,  John  Gottfried,  born  at  Berlin  (1764-1850).  After 
studying  some  time  in  Rome  he  was  appointed  court  sculptor  at  Ber- 
lin. His  works  are  unpretending  and  lifelike  in  effect.  Among  his 
best  works  are  the  statues  of  Count  von  der  Mark  in  Berlin,  and 
Frederick  the  Great  at  Stettin.  His  son,  John  Rudolph  Schadow, 
was  very  gifted  but  died  young.  He  studied  under  Canova  and 
Thorwaldsen,  and  is  well  known  by  his  statue  of  a  girl  fastening 
her  sandal,  which  has  been  often  repeated.  At  the  time  of  his  death 
he  had  modelled  the  group  of  "  Achilles  protecting  the  body  of  Pen- 
thesilea,"  which  was  finished  by  Wolff  (1786-1822). 

Schaffner,  Martin.  Flourished  1499-1535.  A  painter  of  Ulm. 
He  modified  his  realistic  manner,  and  must  have  studied  some  Italian 
works.  He  excelled  in  the  representation  of  the  innocence  of  young 
girls,  as  it  is  seen  in  a  picture  of  female  saints  in  the  Berlin  Mus. 
His  best  work  is  a  series  from  the  life  of  the  Virgin,  now  at  Munich. 
His  portraits  in  the  Besser  chapel  and  sacristy  of  the  Ulm  Cath. 
prove  him  to  have  excelled  in  this  department  of  painting. 

Schalken,  Gottfried,  born  at  Dort  (1643-1 706).  Pupil  of  Hoch- 
straeten  and  Gerard  Dow.  He  visited  England  in  the  time  of  Will- 
iam III.  He  painted  portraits  and  some  Scriptural  subjects,  but  his 
forte  was  scenes  from  common  life,  by  candle-light.  Many  of  them 
are  now  injured  by  change  of  color.  His  -works  are  seen  in  the 
Louvre,  Munich,  Vienna,  Dresden,  Berlin,  and  Amsterdam  galleries, 
and  a  few  are  at  Buckingham  Palace. 

Schedone,  Bartolommeo,  born  at  Modena  (about  1580-1615). 
Duke  Ranuccio  was  his  friend  and  patron,  and  he  formed  himself  by 
study  of  Correggio.  Large  works  by  Schedone  are  rare,  and  his 
pictures  are  best  seen  in  the  Gall,  of  Naples.  The  small  number  of 
his  works  is  attributable  to  his  love  of  gaming,  in  which  he  wasted 
his  time,  and  died,  it  is  said,  from  distress  of  mind,  on  account  of 
losing  in  one  night  more  than  all  he  possessed  in  the  world. 


SCHEFFER  —  SCHINKEL.  543 

Scheffer,  Ary,  born  at  Dort  (1795-1858).  An  eminent  painter. 
He  may  be  styled  a  Romanticist.  His  picture  of  Francesca  da  Ri- 
mini, from  Dante,  is  known  the  world  over.  There  is  sadness  of  a 
certain  sort  in  all  his  works ;  no  hope,  no  cheerfulness.  His  pictures 
from  Faust,  Mignon,  Beatrice,  and  others  of  this  class,  are  highly 
poetical.  He  also  represented  Scriptural  subjects,  such  as  "  Le 
Christ  Consolateur,"  "  Les  Douleurs  de  la  Terre,"  "  Ruth  and  Na- 
omi," etc.  His  works  have  been  engraved  by  Girard,  Henriquel- 
Dupont,  Blanchard,  and  others. 

ENGRAVINGS   AFTER    THE   WORKS   OF   ARY    SCHEFFER. 

Engraver,  BERNARDI,  Jacopo.     S.  Cecilia,  half-length. 

Engraver,  BLANCHARD,  Auguste  Jean  Baptiste  Marie.  Christus 
Remunerator. 

Engraver,  CALAMATTA,  Louis.     Francesca  da  Rimini. 

Engraver,  DUPONT.     Christus  Consolator. 

Engraver,  Louis,  Aristide.  Mignon  regretting  her  Country. 
Mignon  aspiring  to  Heaven. 

Engraver,  THEVENIN,  J.  Charles.     The  Charitable  Child. 

Schiavone,  Andrea,  called  Medola.  Real  name  Andrea  Medola, 
Lo  Schiavone,  that  is,  the  Sclave.  Born  in  Dalmatia  (1522-1582). 
He  settled  in  Venice,  became  a  follower  of  Titian,  and  a  fine  colorist. 
He  was  so  poor  that  he  was  forced  to  paint  house  decorations,  and 
other  like  matters,  which  injured  him,  for  he  designed  and  executed 
too  hastily  to  do  it  well.  His  pictures  are  seen  in  good  collections, 
and  prized  for  their  extraordinary  power  of  color.  He  left  several 
etchings,  some  from  his  own  designs,  and  others  after  Parmigiano 
and  other  artists. 

Schievelbein,  Hermann  (1817-1867).  The  principal  works  of 
this  sculptor  are  in  Berlin,  and  are  characterized  by  a  poetic  concep- 
tion which  displays  the  rich  imagination  of  the  artist.  The  grand 
frieze  which  depicts  the  ruin  of  Pompeii,  and  is  in  the  Greek  court 
of  the  new  Mus.  at  Berlin,  is  a  work  which  displays  all  his  power. 
It  is  but  a  model  in  stucco.  It  is  full  of  fascination,  and  merits  being 
better  known.  He  left  some  fine  incomplete  works,  and  his  compar- 
atively early  death  leaves  us  little  more  than  the  opportunity  to 
imagine  what  he  might  have  done  had  he  lived. 

Schilling,  Johannes.  The  sculptor  of  the  groups  of  "  Day  "  and 
"  Night"  of  the  Briihl  Terrace  at  Dresden. 

Schinkel,  Karl  Friedrich  (1781-1841).  This  architect  was  a 
student  and  enthusiastic  lover  of  Greek  art.  He  was  forced  to  mod- 
ify his  plans  to  suit  the  requirements  of  the  life  of  his  time,  but  so 
far  as  he  was  able,  he  carried  out  the  principles  of  Hellenic  art.  His 
finest  works  are  the  theatre,  the  Museum,  and  the  guard-house  of 
Berlin.  His  influence  continues  since  his  death,  and  his  principles 
are  followed  in  the  works  of  his  pupils,  especially  in  regard  to  fine- 
ness of  ornament  and  detail. 


544  SCHLUTER  —  SCHONGAUER 

Schluter,  Andreas,  born  at  Hamburg  (about  1662-1714).  An 
architect  and  sculptor.  The  plastic  ornaments  of  the  arsenal  at 
Berlin  were  by  his  hand;  the  heads  of  dying  Warriors  above  the 
windows  in  the  court-yard  are  wonderfully  fine.  His  chef-d'oeuvre  was 
the  equestrian  statue  of  the  Great  Elector,  for  the  long  bridge  at 
Berlin.  The  palaces  of  Potsdam  and  Charlottenburg  were  much 
decorated  by  Schliiter.  A  tower  which  he  was  erecting  in  1 706 
proved  faulty  in  construction,  and  was  pulled  down.  This  caused 
his  dismissal  from  work  at  the  Pal.  of  Berlin,  and  completely  broke 
his  spirit.  In  1713  he  was  summoned  by  Peter  the  Great  to  St. 
Petersburg,  but  died  in  a  year  from  that  time. 

Schoenfeldt,  Heinrich,  born  at  Biberach  (1609-1675).  Pupil  of 
Johann  Sichelbein,  and  afterwards  went  to  Italy.  His  works  are 
unequal,  and  he  treated  all  kinds  of  subjects.  His  mythological  pic- 
tures are  very  attractive,  but  his  altar-pieces  and  religious  subjects 
are  better.  He  executed  numerous  works  for  churches,  one  of  the 
best  being  a  "  Crucifixion,"  in  Wiirzburg  Cath.  "  Jacob  and  Esau," 
in  the  Vienna  Gall. ,  is  also  one  of  his  happiest  efforts.  Several  of 
his  pictures  are  in  the  Dresden  Gall. 

/VUS,  M  4  S, 

Schongauer,  Martin,  commonly  called  Martin  Schb'n.  This  artist 
flourished  on  the  Upper  Rhine,  but  where  or  when  he  was  born  is 
not  positively  known.  As  nearly  as  can  be  judged  he  was  a 
native  of  Colmar,  and  lived  from  1420  to  1488.  He  was  a  very  im- 
portant artist  for  his  time.  Very  few  of  his  paintings  remain,  and 
those  are  not  equal  in  excellence  to  his  engravings.  He  is  called  the 
pupil  of  Rogier  van  der  Weyden.  His  engravings  after  his  own 
designs  prove  him  to  have  excelled  Rogier  in  feeling  for  beauty  and 
spirituality;  his  power  of  invention  was  good,  and  he  executed  with 
animation  and  spirit.  His  most  important  picture  remaining  is  that 
of  the  "  Virgin  in  a  Rose  Garden,"  in  S.  Martin's  ch.  at  Colrnar; 
next  to  this  are  the  "  Virgin  and  Child,"  the  "  S.  Anthony 
Hermit,"  and  the  "  Annunciation,"  in  the  Civic  Library  of  Colmar, 
formerly  in  a  monastery  at  Isenheim ;  the  "  Death  of  the  Virgin," 
National  Gall.,  is  probably  his  earliest  known  work;  there  is  a 
cabinet  picture  in  the  Munich  Gall,  representing  "  David  with  the 
head  of  Goliath,"  and  a  few  others,  mostly  in  private  hands,  but  the 
above-mentioned  are  those  by  which  he  is  generally  known  and 
judged.  A  h'st  of  his  plates  from  his  own  designs  is  given  below ; 
that  of  the  "  Temptation  of  S.  Anthony  "  is  said  to  have  been 
copied  by  Michael  Angelo,  and  the  "  Bearing  of  the  Cross  "  was 
admired  by  Raphael,  while  the  "  Conversion  of  S.  Paul  "  is  beyond 
anything  of  the  German  school  of  the  same  time  in  excellence.  He 
is  justly  a  very  celebrated  engraver,  and  may  be  called  the  father 
of  this  art  in  his  country.  Many  critics  consider  his  "  Flight  into 


SCHONGAUER.  545 

Egypt  "  his  chef-d'ceuvre.  He  executed  secular  subjects  as  well  as 
religious;  his  "  Departure  for  the  Market,"  and  "  The  Peasants" 
are  excellent.  Schongauer  designed  beautiful  ornaments  and  jew- 
elry, and  his  genius  and  manner  were  greatly  admired  by  his  suc- 
cessors, who  were  largely  influenced  by  him. 

ENGRAVINGS   AFTER    THE    WORKS   OF   MARTIN   SCHONGAUER. 

Engraver,  GLOCKENTON,  Albert.  Twelve  plates  of  the  Passion  of 
Christ;  fine  and  scarce.  Ten  plates  of  the  Wise  and  Foolish 
Virgins.  Christ  bearing  his  Cross.  The  Death  of  the  Virgin. 

Engraver,  HOLLAR,  Wenceslaus.  Half  length  portrait  of  a 
Woman  with  a  wreath  of  oak-leaves. 

His  own  Plates. 

The  Life  of  the  Virgin;  twelve  plates. 

The  Passion  of  our  Saviour;  twelve  plates. 

The  Annunciation. 

The  Nativity. 

Adoration  of  the  Magi. 

Flight  into  Egypt. 

The  Wise  and  Foolish  Virgins;  ten  plates. 

The  Last  Judgment. 

Christ  bearing  his  Cross. 

The  Crucifixion. 

The  Death  of  the  Virgin.  Also  engraved  by  Israel  Yan  Mecheln, 
Wenceslaus,  and  others. 

A  small  set  of  the  Apostles. 

S.  Anthony  carried  into  the  Air  by  Demons. 

S.  Sebastian  tied  to  a  Tree. 

Two  Alchymists  fighting. 

A  set  of  twelve  subjects  for  ornaments,  for  goldsmiths. 

A  Drinking  Cup. 

An  Incense  Cup,  or  Censer,  engraved  also  by  Van  Mecheln. 

A  Bishop's  Crozier. 

A  Battle  of  the  Saracens  against  the  Christians.  S.  James 
appears  on  the  side  of  the  latter.  This  was  probably  his  last  plate, 
for  it  was  not  entirely  finished. 

Engraver,  SCHOEN,  Bartholomew.  The  Life  of  Christ.  Le 
Cavalier  avec  la  Dame  en  Croupe.  Le  Paysan  a  la  Masse  d'Armes. 
L'Enfant  dans  le  Bain.  L'Enfant  nud  assis.  Le  Paysan  a  1' Ail; 
a  circular  print.  L'Enfant  aupres  du  petit  Pot;  in  two  circles. 
Le  Concert;  circular.  La  Brouette.  Les  deux  Amans.  Les 
Sauvages. 

E/if/raver,  WENCESLAUS  of  Olmutz.  Death  of  the  Virgin;  1481. 
The  Annunciation,  with  a  Flower  Pot  in  the  front;  the  Deity 
35 


546  SCHONGAUER  —  SCHWANTHALER. 

appears  above.  A  Gentleman  and  Lady  walking ;  Death  appears 
behind  a  Tree  in  the  Background.  The  Last  Supper.  Crucifixion 
of  S.  Andrew.  A  set  of  small,  upright  prints,  representing  the  Life 
and  Passion  of  Christ. 

Schoreel,  Jan,  born  at  Schoreel  (1495-1562).  This  painter  was 
probably  the  first  of  his  country  who  introduced  Italian  art  into 
Holland.  He  loved  to  travel,  and  went  to  Jerusalem.  On  his 
return  he  arrived  in  Rome  just  when  Adrian  VI.  was  made  Pope. 
Schoreel  was  employed  by  him  because  he  was  his  countryman, 
rather  than  from  a  love  of  art.  The  pictures  known  to  be  by 
Schoreel  are  very  few.  An  authentic  one  is  in  the  Town  Hall  of 
Utrecht;  it  represents  the  Virgin  and  Child,  with  donors,  in  a 
landscape,  and  is  a  decided  imitation  of  Michael  Angelo  and  Raphael. 
This  shows  him  to  be  a  good  draughtsman;  other  works  called  by 
his  name  are  of  vigorous  conception,  warm  color,  and  excellent 
execution. 

Schotel,  Christian,  born  at  Dort  (1787-1838).  This  artist  was 
a  very  eminent  marine  painter.  His  works  resemble  those  of 
Backhuysen,  but  are  more  spirited  and  more  freely  executed.  His 
pictures  are  much  prized;  several  are  in  England.  There  is  a  fine 
specimen  at  the  Hague. 

Schriek,  Otto  Marseus  van,  born  at  Amsterdam  (1613-1673). 
Often  wrongly  called  Marcellis.  The  founder  and  best  painter  of 
the  plant  and  insect  school.  He  excelled  in  representing  flowers, 
birds'  nests,  serpents,  butterflies,  etc;  he  was  true  to  nature  and 
powerful  in  color.  Two  of  his  works  are  in  the  Dresden  Gall. 

Schut,  Cornells,  born  at  Antwerp  (1597-1655).  Vandyck 
painted  the  portrait  of  Schut  among  the  eminent  artists  of  his  coun- 
try. He  was  a  follower  of  Rubens,  but  was  very  weak  in  comparison 
with  that  master.  He  painted  many  decorative  works  and  also 
ecclesiastical  subjects.  His  pictures  are  in  the  galleries  of  Vienna 
and  Antwerp.  There  is  much  confusion  in  the  accounts  of  artists 
by  the  name  of  Schut. 

Schiitz,  Christian  George,  the  Elder,  born  at  Floresheim  (1718- 
1791).  A  good  painter  of  small  views  on  the  Rhine  and  Maine. 
His  works  are  numerous.  They  may  be  well  studied  in  the  Stadel 
Institute  at  Frankfort. 

Schwanthaler,  Ludwig  (1802-1848).  This  sculptor  made 
repeated  visits  to  Rome,  and  seems  to  have  chosen  for  his  model, 
the  antique  as  revived  by  Thorwaldsen.  His  chief  works  are  in 
Munich,  and  comprise  the  interior  decorations  of  the  Glyptothek, 
those  for  the  new  Konigsbau,  two  marble  groups  for  the  Walhalla, 
the  statue  of  Bavaria,  fifty-four  feet  in  height,  twelve  gilt  bronze 
statues  of  Bavarian  sovereigns,  and  various  other  statues.  He  had 
marvellous  inventive  powers  and  a  surprisingly  fruitful  imagination; 
in  these  particulars  he  ranks  with  the  first  of  modern  artists ;  but 


SCHWANTHALER  —  SEGHERS.  547 

in  spite  of  these  gifts  his  works  seldom  rise  above  what  we  term 
decorative  art,  and  are  deficient  in  power  in  spite  of  some  most 
excellent  elements. 

Schwartz,  Christopher,  born  at  Ingolstadt.  He  studied  at 
Venice  and  afterwards  held  a  high  position  in  the  Bavarian  court, 
but  we  can  say  little  in  praise  of  his  works,  which  may  be  seen  in 
the  Munich  Gall. 

Scott,  John  (1774-1828).  An  eminent  English  engraver,  who 
excelled  in  representations  of  all  kinds  of  animals.  His  horses  and 
dogs  are  especially  fine,  and  some  of  his  plates  are  much  esteemed. 

Scott,  Samuel,  died  1772.     A  good  painter  of  sea  pieces. 

Scott,  David,  born  at  Edinburgh  (1806-1849).  An  artist  of 
wonderful  imagination,  but  negligent  in  execution  and  often  extrav- 
agant in  conception.  His  works  are  quite  numerous  when  we  con- 
sider his  early  death.  We  have  not  space  to  enumerate  them. 

Screta,  Carl,  born  at  Prague  (1604-1674).  He  went  to  Rome 
with  Wilhehn  Bauer,  and  there  studied  the  best  works  of  the  Italians. 
He  acquired  a  wonderful  power  of  copying  and  preserving  the  char- 
acteristics of  different  masters.  His  own  works  are  numerous.  He 
loved  to  illustrate  the  legends  of  the  saints,  and  evidently  painted  his 
figures  from  models;  they  are  very  life-like.  He  is  said  to  have 
twice  painted  his  own  portrait  in  the  garb  of  a  saint.  He  was  often 
extravagant  in  his  attitudes  ;  his  best  works  are  excellent  in  chiaro- 
scuro; he  had  good  inventive  powers,  and  displayed  much  elevated 
feeling;  he  used  his  brush  with  spirit,  and  yet  with  softness.  Some 
of  his  fine  works  are  in  Prague. 

Sebastiano,  Fra.     See  Piombo. 

Seghers  or  Zegers,  Gerard,  born  at  Antwerp  (1589-1651). 
Pupil  of  Van  Balen  and  Janssens.  He  studied  in  Italy  also,  where 
he  became  an  imitator  of  Caravaggio.  He  went  to  Spain,  and  exe- 
cuted works  for  Philip  III.  He  amassed  a  large  fortune  after  his 
return  to  Antwerp,  and  was  honored  there  by  being  elected  dean  of 
his  guild.  He  painted  historical,  sacred,  and  profane  subjects.  Some 
of  his  finest  works  are  in  the  churches  of  Antwerp,  and  have  been 
well  engraved.  Vandyck  painted  his  portrait,  which  Pontius  en- 
graved. 

Seghers  or  Zegers,  Daniel,  born  at  Antwerp  (1590-1661). 
Brother  of  the  preceding.  This  eminent  flower  painter  used  colors 
which  may  be  called  fadeless  in  some  respects  ;  no  red  roses  endure 
like  his.  He  usually  painted  garlands  around  the  pictures  of  other 
masters,  instead  of  painting  whole  pictures  of  his  own.  This  he  did 
for  Rubens,  Cornelius  Schut,  Diepenbeck,  and  Quellinus.  His 
flowers  were  usually  highly  finished,  although  at  times  they  resemble 
decorative  painting.  He  could  not  execute  all  his  commissions,  so 
popular  did  his  works  become.  They  may  be  seen  in  most  Euro- 
pean galleries. 


548  SEMOLEI  —  SESTO. 

Semolei,  n.     See  Franco. 

Senefelder,  Alois,  born  at  Munich  (about  1771-1834).  Etching 
on  stone  was  a  lost  art  which  was  rediscovered  or  reinvented  by 
Senefelder.  His  patient  labor  and  his  difficulties  make  a  full  account 
of  him  very  interesting.  He  published  one  in  1809,  and  Nagler 
gives  interesting  facts  regarding  his  works,  pupils,  etc.,  in  his 
"  Kiinstler  Lexicon." 

Sequeira,  Domingos  Antonio  de  (1760  ?-1823  ?).  Many  works 
by  this  Portuguese  painter  are  at  Lisbon.  He  was  in  Paris  in  1823, 
and  his  picture  of  the  "  Last  Moments  of  Camoens  "  was  much 
praised  by  Gerard,  Vernet,  and  other  artists.  His  pictures  are  very 
varied  in  character,  embracing  all  sorts  of  subjects,  but  the  larger 
portion  are  religious. 

Sergell,  Johann  Tobias  (1736-1813).  This  Swedish  sculptor 
studied  in  Rome,  and  executed  antique  subjects,  such  as  "  Cupid  and 
Psyche,"  "  Mars  and  Venus,"  etc.  His  best  works  are  in  the  Mus. 
of  Stockholm. 

Sermoneta,  Girolamo  Sciolante  da  (1504-1580).  The  disciple 
of  Perino  del  Vaga,  and  one  of  the  best  artists  of  his  time.  An 
"  Adoration  of  the  Shepherds,"  painted  by  him,  in  S.  Maria  della 
Pace,  at  Rome,  is  a  good  example  of  his  best  manner. 

Serra,  Miguel,  born  in  Catalonia  (about  1653-1728).  This 
painter  ran  away  from  his  mother,  who  abused  him,  when  eight  years 
old,  made  his  way  to  Marseilles,  and  began  to  study.  He  worked 
diligently,  and  when  seventeen  painted  an  altar-piece  which  estab- 
lished his  reputation.  He  was  constantly  employed,  and  became  very 
rich.  He  was  appointed  painter  to  the  King  of  France,  and  elected 
to  the  Acad.  for  the  merit  of  a  picture  he  sent  to  Paris.  It  is  said 
that  he  painted  his  easel  pictures  very  rapidly,  and  that  one  morning 
some  people  waited  on  him  to  request  him  to  execute  an  altar-piece ; 
the  arrangements  were  made,  and  he  asked  them  to  remain  to  dinner, 
and  left  them  to  walk  in  the  garden.  Meantime  he  finished  the 
picture,  and  was  able  to  show  it  when  the  meal  was  served.  During 
the  plague  of  1721  he  became  poor  by  giving  all  he  had  for  the 
sufferers.  After  it  was  over  he  resumed  his  labors  cheerfully.  He 
painted  two  pictures  illustrating  the  horrors  he  had  seen,  and  sent 
them  to  his  son  in  Paris,  to  be  presented  to  the  King.  The  son 
sold  them  for  his  own  profit.  This  injured  the  father's  reputation 
very  much.  He  did  not  long  survive  this  trouble. 

Sesto,  Cesare  da,  called  Cesare  Milanese.  Flourished  about 
1500.  The  early  works  of  this  painter  resemble  those  of  Leonardo, 
and  he  is  often  called  his  disciple.  Later  in  life  he  was  in  the  school 
of  Raphael  at  Rome,  and  that  master  was  his  friend.  The  union  of 
the  Roman  and  Milanese  manner,  which  appears  in  his  later  works,  is 
not  altogether  pleasing.  His  works  are  seen  in  Italian  collections 
and  at  Vienna  He  sometimes  painted  figures  in  the  landscapes  of 
Bernazzano. 


SEYDELMAN  —  SIGNORELLI.  549 

Seydelman,  Jacob  Crescentius,  born  at  Dresden  (1750-1829). 
An  artist  celebrated  all  over  Europe  for  his  drawings  in  sepia.  He 
made  many  drawings  after  fine  pictures  in  Rome,  which  sold  for  very 
high  prices.  He  was  elected  to  several  academies,  and  received 
many  distinctions.  He  copied  the  finest  pictures  at  Dresden,  full 
size,  for  the  Emperor  of  Russia,  and  received  enormous  sums  for 
them.  He  made  some  designs  for  engravers,  and  one  etching,  of  a 
figure  bathing  in  a  cavern,  from  his  own  design.  His  wife,  Apollonia 
Seydelman,  was  celebrated  in  the  same  art  as  her  husband,  and 
assisted  him  very  much  in  his  large  works.  She  also  executed  draw- 
ings entirely  by  herself,  and:  was  made  a  member  of  the  Acad.  of 
Dresden. 

Sharp,  William,  born  at  London  (1749-1824).  One  of  the  very 
best  line-engravers  of  England.  Among  his  best  plates  are  the 
"  Doctors  of  the  Church,"  after  Guido;  the  "Holy  Family,"  after 
Sir  Joshua  Reynolds;  portrait  of  John  Hunter,  after  the  same; 
"  Lear  in  the  Storm,"  after  Benjamin  West,  etc.  After  100  im- 
pressions had  been  made  of  the  "  Holy  Family,"  Bartolozzi  attempted 
to  change  the  plate  to  a  dotted  engraving,  and  effected  its  ruin. 

Sherwin,  John  Keyes.  An  excellent  English  engraver  who 
flourished  from  1775  to  1795.  He  was  instructed  by  Bartolozzi  and 
also  much  employed  by  that  master. 

Siebold,  Christian,  born  at  Mayence  (1697-17G8).  A  painter  of 
portraits  in  the  manner  of  Denner,  every  wrinkle,  spot,  freckle,  etc., 
being  portrayed  with  exactness  ;  but  in  a  picture  this  seems  exaggera- 
tion. His  best  work  is  probably  his  own  portrait  in  the  Louvre. 
His  pictures  are  in  several  Continental  galleries.  He  was  much  ad- 
mired in  his  day,  and  was  appointed  cabinet  painter  to  Maria 
Theresa. 

Sigalon,  Xavier,  born  at  Uzes  (1788-1837).  This  painter  de- 
veloped his  talents  under  great  difficulties,  and  first  attracted  public 
attention  by  his  picture  of  the  "Young  Courtesan."  This  is  now  in 
the  Louvre,  and  is  well  known  from  engravings  of  it.  The  artist  pre- 
ferred subjects  full  of  the  horrible,  and  his  "  Locuste  and  Narcisse 
testing  Poisons,"  as  represented  in  the  third  act  of  Racine's  u  Britan- 
nicus,"  followed  by  others  of  similar  effect,  established  his  reputation 
as  a  painter.  His  works  are  principally  in  Nismes,  Nantes,  and 
Paris. 

Signer elli,  Luca  Egidio  di  Ventura,  born  at  Cortona  (1441- 
1523  ?).  This  painter  was  very  remarkable  for  his  time.  He  pos- 
sess* -<1  a  wonderful  knowledge  of  anatomy,  and  was  a  precursor  of 
the  manner  of  Michael  Angelo,  who  admired  his  works,  and  in  a  cer- 
tain sense  imitated  him.  He  was  of  a  generous,  noble  character, 
handsome,  fond  of  society,  and  magnificent  in  his  style  of  living. 
His  greatest  work  was  in  the  Cath.  of  Orvieto,  where  he  represented 
the  "  End  of  the  World,"  and  the  "  History  of  Antichrist."  We 


550 


SIGNORELLI  —  SIMBRECKT. 


have  not  space  for  a  description  of  these  great  works,  but  they  are 
worthy  of  all  the  praise  and  admiration  which  is  given  them.  The 
architectural  parts  are  in  the  best  classic  style,  the  angels  are  beau- 
tiful and  graceful,  the  imps  and  the  lost  ones  struggle  with  inde- 
scribable energy,  and  are  most  fittingly  represented,  and,  in  short, 
there  is  a  skilful  arrangement  and  suitable  action  in  all.  Signorelli 
also  painted  in  the  Sixtine  chapel  a  large  fresco  of  the  History  of 
Moses,  and  even  there  he  holds  an  honorable  place  among  the  great 
painters  whose  works  surround  his.  His  fresco  is  grand  and  suitable 


FROM  THE  LAST  JUDGMENT.      BY  SIGNORELLI. 

Cath.  of  Orvieto. 

to  his  subject  in  its  arrangement  and  proportions.  His  Madonnas, 
Holy  Families,  and  other  subjects  are  seen  in  all  the  large  European 
galleries.  He  generally  signed  them  Luca  Cartonensis  or  Coritius. 

Silvestre.  A  family  of  French  engravers,  five  at  least,  in  number, 
who  flourished  from  1645  to  1767.  Israel  Silvestre  was  the  most  im- 
portant (1621-1691),  and  left  more  than  1000  prints.  His  subjects 
were  principally  landscapes,  views,  and  public  festivals. 

Simbrecht  or  Zimbrecht,  Matthias,  born  at  Munich;  died  1680. 
The  few  existing  pictures  by  this  master  show  him  to  have  been  a 
rery  successful  imitator  of  Raphael.  His  color  was  warm  and  power- 


SIMBRECHT  —  SMYBERT.  551 

ful;  his  composition  was  simple  and  his  draperies  graceful,  while  a 
fine  feeling  runs  through  all  his  works.  Several  of  them  are  in  the 
churches  of  Prague,  where  he  died  of  the  plague. 

Simoneau,  Charles,  born  at  Orleans  (1639-1728).  The  works 
of  this  engraver  embrace  a  variety  of  subjects,  and  are  well  esteemed. 
His  brother  Louis  and  his  son  Philip  were  also  engravers. 

Sirani,  Gio.  Andrea  (1610-1670).  A  pupil  of  Guido  Reni,  and 
a  good  imitator  of  that  master.  His  daughter  Elisabetta  was  a  won- 
derful artist  (1638-1665).  Although  her  career  was  of  short  dura- 
tion she  executed  more  than  160  pictures.  Her  works  are  seen  in  the 
Bologna  Gall.  When  she  died  it  was  suspected  that  she  was  poisoned 
by  her  maid,  but  no  proof  of  this  was  obtained.  Bartsch  describes 
ten  etchings  which  he  believes  to  have  been  executed  by  Elisabetta 
Sirani;  they  are  in  a  spirited  style,  with  the  extremities  finely 
marked. 

Slingelandt,  Peter  van,  born  at  Leyden  (1640-1691).  This  pu- 
pil of  Gerard  Dow  was  only  remarkable  for  his  laborious  execution, 
which  excelled  that  of  his  master.  His  subjects  were  genre,  and 
mostly  of  very  homely  scenes.  His  pictures  are  seen  in  several  Con- 
tinental galleries. 

Smirke,  Robert,  born  at  Wigton  (1752-1845).  This  artist  was 
first  a  coach  painter,  and  his  earliest  success  was  in  his  pictures  illus- 
trating "Don  Quixote."  He  was  so  much  occupied  in  designs  for 
books  that  his  works  are  not  numerous.  His  subjects  were  usually 
from  Cervantes,  Shakespeare,  Milton,  or  classical  stories  and  legends. 
He  was  the  father  of  the  architect,  Sir  Robert  Smirke. 

Smith,  John.  Flourished  about  1700;  died  1720.  The  most 
skilful  mezzotint  engraver  that  had  appeared  in  the  time  in  which  he 
lived.  His  prints  number  500  at  least,  and  are  very  fine.  Some 
portraits  after  the  pictures  of  Sir  Godfrey  Kneller  are  among  the 
best  of  his  works. 

Smith,  John  Raphael  (1750-1812).  Son  of  Thomas  Smith,  a 
landscape  painter.  He  excelled  in  mezzotint  engraving;  his  por- 
traits are  especially  fine;  many  of  them  are  after  Sir  Joshua  Rey- 
nolds. This  artist  was  so  fond  of  pleasure  that  his  works  are  com- 
paratively few,  numbering  about  150. 

Smybert,  John,  born  at  Edinburgh  (1684  7-1751).  His  name  has 
also  been  spelled  Smibert  and  Swibert.  In  early  life  he  was  a  house 
painter,  but  went  to  London,  and  then  to  Italy,  and  at  last  came  to 
Boston  and  established  himself  as  a  portrait  painter.  His  pictures 
are  valuable  as  the  best  pictures  we  have  of  the  early  divines  and 
other  notable  persons  of  New  England,  rather  than  as  works  of  art. 
These  portraits  are  in  Harvard  and  Yale  Colleges,  in  the  Massachu- 
setts Historical  Society,  at  Worcester,  Mass.,  and  in  several  family 
collections  in  different  parts  of  the  country.  His  portrait  of  Dean 
Berkeley  and  his  family,  now  at  New  Haven,  is  a  picture  of  great  in- 


552  SMYBERT  —  SOLARIO. 

terest,  and  the  best  work  known  to  be  from  the  hand  of  Smybert. 
It  is  nine  by  six  feet  in  size,  and  contains  eight  figures,  the  artist 
himself  making  one  of  the  number.  The  works  of  this  artist  were 
the  best  painted  in  America  before  the  Revolution.  Allston  thus 
speaks  of  his  copy  of  Vandyck's  Card.  Bentivoglio,  now  at  Harvard  : 
"  When  I  saw  the  original  I  had  to  change  my  notions  of  perfection," 
but  adds,  UI  am  grateful  to  Smybert  for  the  instruction  he,  or  rather 
his  works,  gave  me ; "  and  it  is  true  that  he  greatly  assisted  the 
New  World  painters  who  followed  him. 

Snayers,  Peter,  born  at  Antwerp  (1593-1662  ?).  A  painter  of 
scenes  from  military  life.  His  pictures  are  very  animated  and  pos- 
sess the  rare  virtue  (in  such  subjects)  of  distinctness.  He  also 
painted  excellent  landscapes.  He  was  made  court  painter  to  Arch- 
duke Albert,  at  Brussels,  and  was  employed  by  the  Spanish  court. 
The  Vienna  Gall,  affords  better  opportunities  for  judging  his  works 
than  any  other,  but  his  pictures  are  seen  in  several  large  European 
collections. 

Snyders,  Frans,  born  at  Antwerp  (1579-1657).  This  great  ani- 
mal painter  was  the  pupil  of  Hell  Breughel  and  Van  Balen,  the  friend 
and  co-worker  of  Rubens  and  Jordaens,  and  closely  allied  in  friend- 
ship to  Vandyck,  who  painted  his  portrait.  He  executed  animals  in 
the  landscapes  of  Rubens,  and  the  latter  painted  figures  in  the  works 
of  Snyders.  Like  Rubens  he  could  represent  his  animals  in  action, 
in  the  most  exciting  moment  of  the  combat  or  the  chase.  His  cu- 
linary subjects  were  admirable,  both  for  his  skilful  painting  of  single 
objects  and  for  his  manner  of  grouping  them.  His  pictures  were  in 
great  demand,  and  princes  and  nobles  were  his  patrons  at  home  and 
abroad.  Philip  V.  of  Spain  gave  him  large  commissions.  His  works 
are  in  all  the  large  European  galleries,  and  in  private  collections  in 
England. 

Soddoma,  IL     See  Bazzi. 

Sogliani,  Gio.  Antonio  (about  1491-1544).  The  pupil  and 
imitator  of  Lorenzo  di  Credi.  His  works  sometimes  pass  for  those 
of  his  master,  although  he  was  inferior  to  him.  Some  of  his  Ma- 
donnas are  graceful  and  pleasing. 

Soiaro.     See  Bernardino  Gatti. 

Solario,  Andrea.  Very  little  can  be  related  with  assurance  con- 
cerning the  early  life  of  this  old  painter.  He  probably  studied  at 
Milan,  perhaps  formed  himself  after  Leonardo,  and  seems  also  to  have 
had  some  Florentine  traits.  He  went,  it  is  said,  to  Venice,  with  his 
brother,  in  1490.  Many  of  his  works  remain  and  are  scattered  all 
over  Europe;  some  of  the  most  interesting  are  at  Milan.  In  1507 
Solario  went  to  France  to  ornament  the  chapel  of  George  of 
Amboise  at  Gaillon.  This  chapel  was  destroyed  in  1793.  Solario 
was  much  admired  in  France,  and  was  very  popular  in  Italy  after 
his  return.  He  was  commissioned  to  paint  a  large  altar-piece  for 


SOLARIO  —  SOLIS.  553 

the  Certosa  of  Pavia  in  1515,  which  he  did  not  live  to  complete. 
Some  of  his  works  have  been  attributed  to  Leonardo,  as,  for 
example,  the  portrait  of  Chaumont  at  the  Louvre.  He  painted 
several  pictures  of  "  Christ  bearing  the  Cross ;  "  the  best  of  these  is 
in  the  Borghese  Gall,  at  Rome. 

Solario,  Antonio,  called  Lo  Zingaro,  or  the  Gypsy,  from  his 
early  life.  It  is  said  that,  like  Quintin  Massys,  he  was  a  smith,  and 
became  a  painter  in  order  to  win  the  hand  of  his  beloved,  the 
daughter  of  Colantonio  del  Fiore.  His  manner  is  midway  between 
that  of  the  Umbrian  and  German  schools  of  the  15th  century.  It 
is  said  that  he  lived  from  1382  to  1455,  but  there  is  very  little 
positively  known  of  him,  and  some  even  doubt  his  existence  at  all. 
His  works  would  lead  us  to  place  him  in  the  last  half  of  the  cen- 
tury rather  than  the  first.  The  most  important  of  these  are  in 
Naples,  in  the  Museo  Borbonico,  the  ch.  of  S.  Lorenzo  Maggiore, 
and  the  monastery  of  S.  Severino.  The  most  noticeable  is  an 
enthroned  Madonna  in  the  Museo. 

Solimeua,  Francesco,  born  at  Nocera  de'  Pagani  (1657-1747). 
Although  he  was  very  successful  while  alive,  and  left  an  immense 
fortune  of  200,000  scudi  and  numerous  pictures,  he  belongs  to  the 
time  when  Italian  art  was  degenerating,  and  little  can  be  said  in  his 
praise.  He  was  a  friend  of  Giordano;  he  never  married,  and  kept 
houses,  horses,  etc.,  for  his  relatives,  as  well  as  for  himself.  There 
are  numerous  works  of  his  at  Naples,  and  a  number  in  the  Dresden 
Gall. 

0^>  Soils,  Virgilius.     Bartsch  says,  "  The  little 

T    rfy   \^Lf       j-     we  know  of  the  history  of  Virgilius  Solis  is  sup- 

X'          t^  ^\&     plied  by  an  inscription  at  the  bottom  of  his 

portrait  engraved  by  a  master  who  signs  with 

the  letters  B.  J."    It  is  in  German,  and  has  been  translated  thus  :  — 

Virgilius  Solis  was  my  name ; 

Through  all  the  world  extends  my  fame; 

For  artists  many,  formed  by  me, 

Acknowledge  my  paternity 

And  call  me  father.     I  did  ever 

To  serve  them  use  my  best  endeavor. 

/ / >i tinted,  graved  with  the  burin; 

fll/t  mined,  to  make  art  alluring; 

Designed,  to  waken  their  ability ; 

And  etched,  to  teach  their  hands  facility; 

And  subjects  traced  on  blocks  of  wood :  — 

So  no  one  as  my  equal  stood 

In  executing  works  of  art 

With  skill  refined  in  every  part. 

In  justice,  then,  the  voice  of  fame 

Has  given  me  SOLIS  for  my  name ; 

For  that  imports  that,  like  the  Sun, 

I  stand  alone  —  the  only  0110. 


554  SOLIS  —  SPINELLO. 

When  fifteen  hundred  sixty-two, 
As  Christians  reckon,  onward  drew, 
And  years  I  counted/brty-ei^, 
God  pleased  to  call  me  from  the  state 
Of  mortal  life ;  and  his  behest 
Has  numbered  me  among  the  blest. 

He  lived  at  Nuremburg.  His  works  have  now  become  very  rare. 
He  appears  first  to  have  imitated  Albert  Diirer,  but  later  followed 
the  Italian  manner. 

Sophonisba.     See  Anguisciola. 

Soutman,  Pieter,  born  at  Haerlem  (1591-1653).  The  well- 
known  engraver  of  the  works  of  Rubens.  He  also  painted  portraits. 
Spagna,  Lo,  real  name  Gio.  di  Pietro.  Next  to  Raphael  this 
painter  holds  the  place  of  interest  among  the  followers  of  Perugino. 
He  appears  first  as  an  independent  master,  at  Todi  in  1507;  nothing 
of  his  previous  life  is  known.  In  1516  he  went  to  Spoleto,  where 
he  married  a  lady  of  good  family,  and  was  an  esteemed  citizen.  His 
chef-d'oeuvre  is  a  Madonna  enthroned  and  surrounded  with  saints, 
in  the  ch.  of  S.  Maria  degli  Angeli,  in  that  city.  His  works  are 
characterized  by  grandeur,  severity,  and  lofty  sentiment.  His 
color  was  warm,  approaching  the  Venetian.  Another  "Madonna" 
in  S.  Francesco  at  Assisi  is  fine.  His  later  works  are  not  equal 
to  the  earlier  ones,  for  the  reason  that  he  became  little  more  than  a 
servile  imitator  of  Raphael,  and  lost  his  most  excellent  traits.  His 
works  are  seen  in  many  Italian  churches  and  in  most  large  galleries. 

Spagnoletto,  H.    See  Ri- 
bera. 

Spierre,  Francis,  born  at 
Nancy  (1643-1681).     Pupil 
of    Francis   de  Poilly.     His 
most  esteemed  prints  are  rare. 

Spinello,  Aretino,  of  Arezzo.  Flourished  at  the  end  of  the  14th 
century.  In  the  Campo  Santo  of  Pisa  this  old  master  executed  the 
frescoes  of  the  histories  of  SS.  Efeso  and  Polito;  in  the  Palazzo 
Pubblico  of  Siena  he  painted  the  story  of  Pope  Alexander  IH.  and 
the  Emperor  Frederic  I. ;  in  the  sacristy  of  S.  Miniato,  at  Florence, 
the  history  of  S.  Benedict  (well  preserved) ;  and  in  S.  Maria  degli 
Angeli,  at  Arezzo,  the  "  Fall  of  Lucifer."  His  works  are  grand  in 
conception,  but  sketchy  and  unfinished  in  execution,  while  the  color 
is  thin  and  faint.  He  was  well  known  for  his  Christian  charity  and 
character,  and  his  representations  of  religious  subjects  are  spiritual 
and  full  of  reverent  feeling.  It  is  said  that  he  was  in  his  ninetieth 
year  when  he  worked  at  Siena,  where  he  was  assisted  by  his  son, 
Parri  Spinello,  and  that  after  leaving  that  city  he  painted  the  "  Fall 
of  Lucifer."  In  this  work  he  became  over-excited,  and  believed  that 
Satan  appeared  to  him,  to  demand  why  he  had  represented  him  as 


SPINELLO  —  STAVEREN.  555 

such  a  hideous  monster.  From  this  time  the  old  painter  was  terror- 
struck  and  haunted  by  a  horrid  vision,  until  he  died  shortly  after- 
wards. 

Spranger,  Bartholomew,  born  at  Antwerp  (1546-1625).  Stud- 
ied in  Italy,  and  imitated  Parinigianino.  He  was  much  patronized 
and  admired,  which  seems  quite  incomprehensible  when  we  consider 
his  want  of  feeling,  cold  tones,  forced  attitudes,  etc.  His  one  virtue 
was  excellent  modelling.  His  works  may  be  well  studied  in  the 
Vienna  Gall.  Nagler  attributes  six  etchings  to  him ;  these  are  done 
in  a  slight,  masterly  manner. 

Squarcione,  Francesco,  born  at  Padua  (1396-1474).  This 
painter  is  more  distinguished  as  a  teacher  of  painting  than  for  his 
own  works.  He  was  perfectly  enamored  of  antique  art,  and  travelled 
all  over  Italy,  and  to  Greece,  collecting  curious  objects,  and  making 
drawings  from  the  remains  of  antiquity.  He  returned  to  Padua  and 
established  a  school,  to  which  great  numbers  flocked.  He  also 
arranged  a  museum.  He  was  called  the  "  Father  of  young  Painters," 
and  u  Squarcionesque  "  became  the  well-known  word  by  which  his 
followers  were  characterized. 

Staevaerts,  Stevers,  or  Stevens.     See  Palamedes. 

Stanfield,  Clarkson  (1793-1867).  This  English  marine  painter 
was  well  qualified  for  the  subject^  which  he  chose.  He  was  some 
time  a  sailor,  then  a  scene  painter,  and  did  not  exhibit  at  the  Acad. 
until  1820.  From  this  time  he  was  well-considered,  and  became  so 
distinguished  as  to  be  styled  the  English  Vandervelde.  His  cloud 
painting  is  simply  wonderful.  Ruskin  says :  '  *  One  work  of  Stan- 
field's  presents  us  with  as  much  concentrated  knowledge  of  sea  and 
sky  as,  diluted,  would  have  lasted  any  one  of  the  old  masters  his 
life."  He  also  praises  u  his  salt,  serviceable,  unsentimental  sea," 
as  thoroughly  good.  His  chef-d'oeuvre  is  the  "  Battle  of  Trafalgar," 
painted  for  the  United  Service  Club. 

Stanzioni,  Massimo,  born  at  Naples  (1585-1656).  This  painter 
appears  to  have  imitated  Caravaggio  and  Spagnoletto,  but  he  was 
more  noble  in  his  feeling  than  they,  and  more  excellent  in  his  color 
than  the  painters  of  his  time.  He  was  persecuted  by  Spagnoletto 
with  as  much  bitterness  as  if  he  had  been  a  foreign  artist.  Stanzioni 
had  painted  a  Dead  Christ,  with  the  Maries,  over  the  entrance  of 
S.  Martino;  it  had  become  dark,  and  Spagnoletto  was  allowed  by 
the  monks  to  clean  it ;  he  washed  it  in  a  corrosive  preparation,  which 
almost  ruined  it.  Stanzioni  refused  to  repair  it,  in  order  that  this 
monument  of  the  perfidy  of  Spagnoletto  might  remain.  Stanzioni 
had  many  pupils. 

Stavereii,  Johan  Adraen  van.  This  painter  imitated  Gerard 
Dow,  and  represented  old  men,  hermits,  etc.  His  figures  are  stiff 
and  very  highly  finished.  His  works  are  in  the  Amsterdam  Mus. 
and  a  few  other  collections,  but  are  somewhat  rare. 


556  STEEN  —  STORK. 

Steen,  Jan,  born  at  Leyden  (1626-1679).  This  artist  is  genial 
and  attractive,  in  spite  of  the  generally  low  character  of  the  scenes  he 
represented.  He  loved  a  jovial,  roistering  life,  and  as  a  tavern- 
keeper  was  able  to  indulge  himself.  It  is  remarkable  that  in  his 
half  drunken  state  he  could  have  executed  200  works  of  so  much 
merit.  He  studied  first  with  Nicolas  Knupfer,  and  it  is  said,  with  Van 
Goyen,  whose  daughter  he  married.  He  was  fond  of  the  ludicrous, 
especially  in  children,  and  some  of  his  works  represent  them  in  mis- 
chief and  in  play.  He  painted  the  "  Alchemist "  with  terrible  force, 
and  sometimes  chose  such  homely  scenes  as  a  Mother  feeding  her 
Child,  a  Poor  Family  saying  grace  before  their  scanty  meal,  etc. 
His  works  are  much  admired,  and  deservedly  so,  but  unhappily  he 
sometimes  degenerated  into  so  careless  and  vulgar  a  manner,  that 
there  is  much  distinction  to  be  made  between  them.  They  are  seen 
in  most  large  collections.  A  very  fine  one  at  the  Hague  illustrates 
the  proverb,  "  Wie  die  Alten  sungen,  so  pfeifen  auch  die  Jungen." 
The  painter  and  his  family  are  here  portrayed.  Another  in  the  same 
Gall. ,  called  a  "  Representation  of  Human  Life,"  is  a  chef-d'oeuvre. 

Steen,  Francis  van  der,  born  at  Antwerp  about  1604.  This  artist 
distinguished  himself  by  his  engravings  after  Teniers.  He  also  made 
plates  after  other  masters,  among  which  were  three  after  Correggio, 
which  are  now  rare.  They  are  "  fupid  shaking  his  Bow,"  "  Jupiter 
and  lo,"  and  "  Ganymede."  These  were  made  from  designs  by  Van 
Hoy,  after  the  Vienna  pictures. 

Steenwyck,  Hendrik  van  (1550-1604).  This  master  became 
an  excellent  architectural  painter,  and  was  the  first  to  introduce  the 
effect  of  torch  and  candle  light  upon  architectural  forms.  His  fine 
perspective  gives  his  works  their  highest  value.  They  are  seen  to 
advantage  in  the  Vienna  Gall.  His  son  Hendrik  painted  in  the  same 
manner  as  the  father. 

Stella,  Claudine  Bousonnet,  born  at  Lyons  (1636-1697).  This 
lady  distinguished  herself  by  her  engravings  after  the  works  of  her 
uncle,  James  Stella,  and  those  of  Nicolas  Poussin.  She  was  espe- 
cially happy  in  rendering  the  spirit  of  the  pictures  of  the  latter,  and 
her  plates  are  much  esteemed. 

Stephan,  Meister.     See  Lothener. 

Stephanas,  Hans.     See  Calcar. 

Stone,  Frank,  born  at  Manchester  (1800-1859).  This  English 
genre  painter  was  graceful  and  pleasing  in  style.  Many  of  his  works 
are  known  by  good  engravings.  Among  these  are  "  The  Last  Ap- 
peal," "The  Gardener's  Daughter,"  "The  Impending  Mate," 
"Mated,"  "Ophelia  and  the  Queen,"  etc. 

Stork,  Abraham,  born  at  Amsterdam  (1650-1708).  An  imitator 
of  Backhuysen,  to  whom  he  was  very  inferior.  His  works  are  seen 
in  the  German  galleries.  He  also  etched  u  few  plates  in  a  slight, 
spirited  manner. 


STOSS  —  STUART.  557 

Stoss,  Veit  (about  1438).  His  birthplace  is  a  disputed  point. 
Cracow  and  Nuremberg  both  claim  the  honor;  the  latter  seems  to 
possess  the  best  title  to  it.  In  private  he  was,  according  to  Nu^ 
remberg  decrees,  "  a  restless  and  graceless  citizen,  who  has  caused 
much  uneasiness  to  the  honorable  council  and  the  whole  town." 
As  a  wood-carver  he  was  deservedly  much  admired.  His  principal 
works  are  in  the  churches  of  the  two  cities  mentioned  above. 

Stothard,  Thomas,  born  in  London  (1755-1834).  A  celebrated 
designer  and  painter.  His  life  was  without  important  events.  He  first 
appeared  to  the  public  as  a  designer  for  the  "  Novelist's  Magazine." 
He  is  said  to  have  made  more  than  5000  designs,  more  than  3000  of 
which  have  been  engraved.  His  "  Canterbury  Pilgrims  "  is  one  of 
his  best  efforts.  His  works  were  all  characterized  by  grace  and  good 
taste,  rather  than  by  any  remarkable  originality  or  power.  He  always 
caught  the  sentiment  of  his  subject,  and  was  free  from  caricature  and 
affectation.  It  is  said  that  he  preferred  fifteen  small  illustrations 
which  he  made  of  the  "Pilgrim's  Progress"  before  all  his  other 
works.  These  were  engraved  by  Strutt. 

Strange,  Sir  Robert,  born  in  one  of  the  Orkney  Isles  (1721-1792). 
This  distinguished  engraver,  after  a  preparatory  course  of  instruction 
in  Edinburgh  became  the  pupil  of  Le  Bas,  in  Paris.  He  learned  the 
use  of  the  dry  point  which  ho  employed  so  skilfully.  When  he  re- 
turned to  London  in  1751  tho  art  of  historical  engraving  had  been 
little  cultivated.  He  soon  made  himself  known,  and  when,  in  1761, 
he  visited  Italy  for  the  purpose  of  designing  from  celebrated  pictures, 
In;  was  honored  with  much  attention,  and  elected  a  member  of  the 
academies  of  Rome,  Florence,  Bologna,  Parma,  and  Paris.  He  was 
never  a  member  of  the  Royal  Acad.,  but  the  King  knighted  him  in 
1787.  His  plates  are  not  very  numerous,  the  highest  estimate  ever 
mado  being  but  eighty,  and  most  of  them  are  in  three  states ;  the 
first  state,  which  was  but  a  trial,  is  very  rare;  the  second  is  also 
rare,  because  he  only  printed  as  many  as  were  subscribed  for.  Most 
of  his  plates  are  mentioned  in  this  work. 

Strutt,  Joseph  (1749-1802).  This  engraver  distinguished  him- 
self especially  by  his  publication  of  valuable  works,  all  finely  illus- 
trated. Ho  also  wrote  upon  different  subjects  connected  with  art, 
and  left  an  unfmishrd  romance  at  his  death,  called  "  Queen-Hoo 
Hall,"  which  Sir  Walter  Scott  attempted  to  complete.  Among  his 
publications  are  the  Biographical  Dictionary  of  Engravers,  the  "  An- 
tiquities of  England,"  "  Horda  Angel-Cynnan,"  "Chronicles  of 
England,"  "  Regal  and  Ecclesiastical  Antiquities  of  England," 
"  Dresses  and  Habits  of  the  People  of  England,"  and  "  Sports  and 
Pastimes." 

Stuart,  Gilbert,  born  at  Narragansett,  Rhode  Island  (1756-1828). 
He  received  his  first  lessons  in  art  from  Cosmo  Alexander,  a  Scotch 
painter  who  came  to  America  in  1770.  Stuart  accompanied  him  to 


558  STUART  —  STUERBOUT. 

Scotland  and  later  in  life  studied  with  Benjamin  West  in  London, 
where  he  painted  portraits  of  Sir  Joshua  Reynolds,  Benjamin  West, 
Alderman  Boydell,  John  Kemble,  W.  Woollett,  Dr.  Fothergill,  and 
others  of  less  note.  He  returned  to  America  in  1793  and  resided  in 
New  York,  Philadelphia,  and  Washington  alternately  until  1806,  when 
he  settled  in  Boston.  His  portraits  of  Washington  are  better  known 
than  his  other  works,  but  his  pictures  are  numerous  and  are  in  pos- 
session of  many  families  in  different  parts  of  the  country.  He  painted 
three  pictures  of  Washington  from  life;  the  first  was  not  successful, 
and  he  destroyed  it;  the  second  was  a  full  length  life-size,  painted 
for  the  Marquis  of  Lansdowne;  it  was  badly  engraved  by  Heath,  and 
his  print  is  often  seen  in  this  country;  the  third  picture  was  that  now 
in  the  Boston  Athenaeum.  Of  these  pictures  he  made  twenty-six 
copies.  Two  of  his  earlier  works  are  in  the  Redwood  Library  at 
Newport;  a  portrait  of  Gen.  Oliver  Walcott  is  in  the  Wadsworth 
Gall,  at  Hartford ;  a  canvas  with  three  views  of  the  head  of  Madame 
Bonaparte  is  in  the  Coll.  of  the  Baltimore  Historical  Society ;  the 
Massachusetts  Historical  Society  has  a  portrait  of  Jeremiah  Allen, 
and  an  unfinished  one  of  Edward  Everett;  these  are  but  a  few  of  the 
more  well-known  of  his  works ;  Philadelphia  has  perhaps  more  of  his 
pictures  than  any  other  city.  The  Boston  Athenaeum  has,  besides 
the  portraits  of  George  and  Martha  Washington,  four  others  by  his 
hand.  His  male  portraits  are  the  best,  and  are  remarkable  for  their 
freedom  from  all  affectation,  and  excellent  representation  of  the  in- 
dividual character  of  his  sitters. 

Stuerbout,  Dierick.  This  painter,  a  very  important  artist  of  his 
tune,  was  probably  born  about  1391,  and  is  often  called  Dierick 
van  Haerlem,  from  his  birthplace.  Every  circumstance  and  probabil- 
ity indicates  that  he  was  a  pupil  of  Hubert  van  Eyck.  In  1461  he 
was  living  in  Louvain,  and  was  appointed  "  Portraiteur  "  to  the  city. 
His  earliest  known  work  is  probably  the  series  of  eight  pictures  of 
the  History  of  S.  Ursula,  in  the  Hopital  des  Soeurs  Noires,  at  Bruges; 
these  are  ascribed  to  Memling;  they  were  probably  executed  in  1426. 
Next  in  order  are  two  pictures  belonging  to  a  large  altar-piece,  one 
in  Munich  Gall.  Cabinets,  No.  58,  and  the  other  in  the  chapel  of  S. 
Maurice  at  Nuremburg.  Then  comes  a  smaller  altar-piece  in  the 
Cath.  of  Bruges;  then  the  "  Martyrdom  of  S.  Erasmus  "  in  S.  Peter's 
at  Louvain,  about  1463;  in  1467  the  large  altar-piece  in  the  same  ch.; 
the  wings  of  this  are  separated,  a  part  being  in  the  Munich  Gall,  and 
a  part  in  the  Berlin  Mus.  His  largest  and  latest  works  were  exe- 
cuted for  the  Town  Hall  of  Louvain,  and  were  completed  in  1468. 
These  passed  into  the  Royal  Coll.  of  Holland,  and  were  purchased  by 
Mr.  C.  J.  Niewenhuys  at  the  sale  by  the  Dowager  Queen,  after  the 
death  of  William  II.  In  the  Town  Hall  at  Louvain  they  were  affixed 
to  the  wall,  and  beside  each  was  a  panel  explaining  the  subject  and 
meaning  of  the  picture.  They  illustrated  an  old  legend  of  Louvain, 


STUERBOUT  —  SULLY.  559 

that  the  Emperor  Otho  III.  had,  on  the  testimony  of  his  wicked  Em- 
press, executed  a  noble  of  his  court ;  the  wife  of  the  noble  proved  her 
husband's  innocence  by  submitting  unhurt  to  the  ordeal  of  fire,  and 
the  Empress  was  condemned  to  the  flames.  He  was  paid  for  these 
works  230  crowns,  and  commissioned  to  paint  others  which  he  did 
not  live  to  finish.  His  religious  pictures  are  solemn,  restful,  and 
slightly  melancholy  in  tone,  and  of  the  peculiarly  devotional  charac- 
ter which  belongs  to  the  Netherlandish  school  in  early  days.  His 
design  was  picturesque ;  his  proportions  were  too  slender  in  figures, 
but  the  heads  were  expressive  and  individual —  sometimes  beautiful; 
his  hands  were  well  drawn,  and  his  drapery  excellent ;  but  his  color, 
his  landscape  backgrounds,  and  his  execution  were  his  best  features. 
His  color  was  more  powerful  than  that  of  any  painter  of  his  school, 
and  the  softness  of  his  red  and  green  draperies,  and  of  the  greens  of 
his  landscapes,  is  worthy  of  much  praise.  There  is  a  considerable 
number  of  pictures  attributed  to  him ;  those  mentioned  are  the  most 
easily  seen,  and  aro  most  characteristic. 

Suardi,  Bartolomxneo,  called  Bramantino,  the  Younger.  Born  at 
Milan.  Flourished  about  1520.  Pupil  of  Bramante  of  Urbino,  or 
Donate  Lazzari.  One  of  Suardi's  best  works  is  in  the  Brera,  and 
represents  an  enthroned  Madonna,  with  two  angels;  it  is  attractive 
in  expression,  softly  modelled,  and  striking,  rather  than  beautiful. 
Other  works  of  his  are  in  Milan,  but  his  best  efforts  are  in  the  chapel 
of  S.  Bruno  in  the  Carthusian  convent  at  Padua.  They  represent  the 
family  of  the  Visconti,  on  their  knees,  presenting  a  plan  of  the 
building  to  the  Virgin. 

Subleyras,  Pierre  (1699-1749).  This  French  painter  studied 
first  with  Antoine  Rivalz  at  Toulouse,  obtained  the  prize  and  royal 
pension  by  his  exhibition  of  his  picture  of  the  "Brazen  Serpent." 
He  went  to  Rome  and  passed  the  remainder  of  his  life.  He  was  much 
esteemed,  and  his  altar-piece  in  S.  Peter's,  representing  •'  S.  Basil 
celebrating  Mass  before  the  Emperor  Valens,"  was  copied  in  mosaics 
before  his  death.  This  has  been  engraved  by  Domenico  Cunego. 
The  works  of  Subleyras  are  in  many  churches  of  Italy,  and  in  several 
Continental  galleries.  He  also  executed  a  few  spirited  etchings  from 
his  own  designs. 

Sueur,  Eustache  Le,  born  at  Paris  (1617-1655).  Pupil  of  Simon 
Vouet.  The  spirit  of  this  painter  was  not  in  accordance  with  the 
spirit  of  his  country  in  his  time.  Now  he  is  called  the  Raphael  of 
France.  His  chefs-d'oeuvre  were  the  scenes  from  the  life  of  S.  Bruno, 
now  in  the  Louvre, 

Sully,  Thomas,  born  at  Horncastle,  Lincolnshire,  England,  1783. 
His  parents,  who  were  actors,  came  to  America  in  1792.  Sully  com- 
menced his  studies  as  a  painter  in  Charleston,  S.  C.  He  was  in 
Richmond,  Va.,  in  1813,  and  went  a  little  later  to  New  York,  but  set- 
tled in  Philadelphia.  His  portraits  are  too  well  known  to  need  any 


560  SULLY  —  SYRLIN. 

description  or  word  of  praise  here.  His  pictures  of  women  are  the 
best,  and  are  often  wonderful  in  their  grace  and  spirituelleness.  He 
paints  the  mind  as  well  as  the  face,  and  never  represents  anything 
but  well-bred,  cultivated  men  and  women.  Many  of  his  best  por- 
traits are  in  the  Philadelphia  Acad.  of  Fine  Arts ;  that  of  Jefferson  is 
at  West  Point;  "  Washington  crossing  the  Delaware,"  is  in  the  Bos- 
ton Mus. ;  M.  O.  Roberts  of  New  York  has  his  "Woman  at  the 
Well"  and  "  Girl  offering  Flowers  at  a  Shrine;"  his  picture  of 
Queen  Victoria,  painted  from  life  in  1838,  is  owned  by  S.  George's 
Society  of  Philadelphia.  Sully  painted  portraits  of  many  fine  actors, 
among  which  are  Fanny  Kemble,  Charles  Kemble,  Cooke,  Mrs. 
Wood,  etc.  Two  of  his  portraits  are  owned  by  the  Boston  Athe- 
naeum. 

Sunder.     See  Cranach. 

Sustermann,  Lambert.     See  Lambert  Lombard. 

Sustermans,  Justus,  born  at  Antwerp  (1597-1681).  When  quite 
young  he  went  to  Florence,  where  he  passed  his  life.  He  was  an  ex- 
cellent draughtsman,  a  fine  colorist,  free  in  his  execution,  and 
altogether  realistic.  He  painted  historical  and  religious  subjects  and 
portraits.  Many  of  his  portraits  and  other  works  remain  in  Florence ; 
the  Berlin  Mus.  and  Vienna  Gall,  possess  his  works,  and  some  are  in 
private  English  collections. 

Suyderhoef,  Jonas,  born  at  Leyden  (1600-1668  V).  An  eminent 
designer  and  engraver,  whose  prints  are  highly  esteemed.  He  en- 
graved various  subjects  after  different  masters.  He  used  both  point 
and  graver;  his  plates  are  neatly  finished  and  yet  spirited,  and  his 
chiaro-scuro  is  unusually  good. 

Swanevelt,  Herman  van,  born  at  Woerden  (1620- 

T  Tiff  1656  ?)•  This  Dutch  painter  went  early  to  Rome  and 
J  jfQ  became  the  pupil  of  Claude  Lorraine.  His  landscapes 
are  seen  in  many  galleries,  and  while  they  are  taste- 
fully composed,  well  drawn,  and  have  good  atmospheric  effects,  they 
are  so  cold  and  gloomy  in  tone,  and  so  over  nicely  finished,  as  to  lose 
their  effect.  But  the  etchings  of  Swanevelt  can  scarcely  be  too 
highly  praised.  They  are  numerous,  and  a  large  proportion  repre- 
sent views  near  Rome.  Figures  representing  mythological  or  Bib- 
lical stories  are  usually  introduced  with  good  effect.  He  has  also 
represented  animals  in  a  few,  and  these  are  admirally  drawn  and 
executed.  He  used  both  dry  point  and  graver,  and  made  more  dots 
than  lines.  They  are  all  in  a  free,  masterly,  and  spirited  manner,  and 
are  among  the  most  beautiful  etchings  found  in  the  portfolios  of  col- 
lectors. 

Syrlin,  Jorg.  Flourished  during  the  last  half  of  the  15th  century. 
The  principal  works  of  this  sculptor  arc  at  Ulm.  A  singing-desk 
preserved  in  the  Mus.  is  believed  to  be  his  earliest  work  of  impor- 
tance, and  bears  date  1458.  The  splendid  stool,  and  the  choir  stalls, 


SYRLIN  —  TASSI.  561 

in  the  Ulm  Cath.,  and  the  fountain  called  "  Fischkasten,"  in  the 
market-place,  are  his  masterpieces,  and  sufficiently  establish  his 
claim  to  being  called  "  one  of  the  most  excellent  of  the  German 
masters  of  tjae  entire  epoch."  The  choir  stalls  were  completed  in 
four  years.  They  are  more  rich  and  of  greater  artistic  value  than 
any  work  of  the  kind  which  had  preceded  them,  and  have  scarcely 
been  equalled  by  anything  similar  of  more  modern  date.  Jorg  Syrlin, 
the  Younger,  was  the  pupil  of  his  father,  and  became  a  very  reputa- 
ble artist. 

T. 

Tacca,  Pietro  Giacomo.  Sculptor  of  Carrara,  who  flourished 
early  in  the  1 7th  century.  After  studying  under  Gio.  da  Bologna  he 
made  himself  distinguished  in  France  and  Spain.  He  returned  to 
Florence,  where  he  died  in  1640.  He  executed  a  statue  of  Henry 
IV.  and  one  of  Jane  of  Austria,  in  Paris;  one  of  Ferdinand  III.  of 
Tuscany,  with  four  slaves  chained  at  his  feet,  for  Leghorn;  but  his 
capo  d' opera  was  a  statue  of  Philip  IV.,  which  was  first  placed  in  the 
gardens  of  Buenretiro,  but  was  removed  in  1844  to  the  Square  in 
front  of  the  Pal.  of  Philip  V.,  in  Madrid.  Ferdinand  Tacca,  son  of 
the  above,  was  also  esteemed  as  a  sculptor. 

Tafi,  Andrea  (1213-1294).  The  accounts  of  this  old  mosaist 
are  very  vague,  but  generally  amount  to  the  following :  He  went 
from  Florence  to  Venice  to  learn  his  art  from  some  Greeks  then  em- 
ployed at  S.  Mark's;  he  persuaded  one,  Apollonius,  to  accompany 
liim  to  Florence,  where,  in  the  dome  of  the  Baptistery,  they  exe- 
cuted some  mosaics  which  still  remain.  Those  attributed  to  Tafi  are 
an  "  Enthroned  Christ  "  of  colossal  si/e,  ;nul  a  group  of  angels.  It 
is  said  that  Tafi  first  represented  angels  playing  on  the  violin,  and 
first  painted  the  outsides  of  cabinets  for  the  reception  of  bridal  gifti, 
a  custom  borrowed  from  the  Greeks. 

Talpino.     See  Salmeggia. 

Tanm,  Frans  Werner,  born  at  Hamburg  (1658-1724).  The  pic- 
tures of  this  artist  represent  fruits,  flowers,  dead  game,  birds,  dishes, 
etc.  They  are  seen  in  the  galleries  of  Vienna. 

Tardieu.  There  have  been  at  least  eight  French  engravers  by 
this  name.  The  most  important  is  Nicolas  Henri  Tardieu,  born 
at  Paris  (1674-1749).  Pie  was  one  of  the  most  distinguished  en- 
gravers of  his  country.  He  used  both  the  point  and  graver,  and  was 
very  effective  in  his  manner  of  finish  and  execution. 

Tassi,  Agostino.  Family  name,  Buonamici.  Born  at  Perugia 
(1566-1642).  Pupil  of  Paul  Bril,  and  teacher  of  Claude  Lorraine. 
He  was  sent  to  the  galleys  for  some  crime,  and  while  there  made 
sketches  of  marine  subjects  which  furnished  material  for  his  pictures 
after  his  lilieration. 
30 


562  TATTI  —  TENIERS. 

Tatti.     See  Jacopo  Sansavino. 

Tauriscus.  A  statuary  of  Tralles,  who  assisted  to  make  the 
"  Farnese  Bull."  See  Apollonius. 

Tempel,  Abraham  van  den  (1611-1672).  Pupil  of  George  van 
Schooten.  He  painted  small  historical  subjects,  which  he  finished 
with  great  nicety.  He  is  called  a  teacher  of  F.  Mieris,  the  Elder. 
He  also  painted  remarkably  fine  portraits,  which  are  mostly  in  pri- 
vate families.  A  picture  of  a  noble-looking  man  and  his  wife  is  in 
the  Berlin  Mus. 

Tempesta,     Antonio,    born     at 


PT  >2ET     Florence  C1555-163^).     The  paint- 

l    ,         AV  .    ings  of  this  artist  are  battle  scenes, 
huntings,  processions,  etc.,  and  are 

of  little  moment  when  compared  with  his  numerous  etchings.  These 
are  numbered  as  1460  by  Bartsch,  while  others  give  them  at  1519. 
They  are  masterly  in  manner,  and  well  esteemed.  The  earh'est  is  of 
1589,  and  the  latest  1627.  One  of  the  "  Crucifixion,"  inscribed, 
Ant.  Tempestes,  1612,  is  scarce. 

Tempesta,  Peter.     See  Molyn. 

Teniers,  David,  the  Father,  born  at  Antwerp 
Tf\  (1582-1649).  He  was  some  time  in  Rome,  and  be- 
,  J—'  came  a  disciple  of  Adam  Elzheimer.  In  many  of  his 
works  the  landscape  is  a  very  important  part,  but  he  usually  treated 
Biblical,  mythological,  and  peasant-life  subjects.  His  earlier  works, 
some  of  which  may  be  seen  at  Vienna,  are  much  heavier  than  his 
later  ones,  such  as  a  "Village  Fair,"  in  Dresden.  There  is  no 
doubt  that  the  weaker  efforts  of  the  son  are  often  attributed  to  the 
father.  They  both  executed  some  etchings,  and  it  is  -  difficult  to 
discriminate  between  them,  as  they  are  similar  in  manner,  and  have 
the  same  mark. 

Teniers,  David,  the  Son,  born  at  Antwerp  (1610-1694).  The 
most  eminent  genre  painter  of  Belgium.  He  was  instructed  by  his 
father,  but  was  very  much  influenced  by  Rubens.  His  talents  and 
pleasing  personal  qualities  gained  him  universal  favor  and  many 
honors.  His  first  wife  was  the  daughter  of  Jan  Breughel,  and  the 
second  a  daughter  of  the  Secretary  of  State  for  Brabant,  Isabelle  de 
Fren.  He  was  much  favored  by  the  Archduke  Leopold  William, 
and  by  Don  Juan  of  Austria;  besides  this,  he  received  commissions 
from  several  other  courts,  and  was  so  fortunate  as  to  be  able  to  live 
in  handsome  style  at  his  home  at  Perck,  between  Mechlin  and 
Vilvorde,  where  he  went  in  order  to  be  near  the  classes  whose  life 
and  habits  he  portrayed  so  admirably.  It  is  said  that  he  was  active 
and  industrious  up  to  the  time  of  his  death,  at  eighty-four  years  of 
age.  He  excelled  in  imitating  the  styles  of  different  masters,  and 
some  of  his  u  pasticcios  "  were  very  remarkable.  The  Vienna  Gall. 
has  a  work  of  his,  which  represents  the  wall  of  a  room  hung  with 


TENTERS. 


565 


fifty  pictures,  imitating  those  of  Italian  masters,  with  the  painter  and 
the  Archduke  conversing  in  the  foreground.  His  sacred  subjects 
are  his  least  meritorious  works ;  he  excelled  in  guard-house  scenes, 
peasant  life  in  every  aspect,  representations  of  the  alchemist,  in 
which  he  is  unequalled,  and  fairs  and  festivals  of  all  sorts.  His 
light,  brilliant  touch,  his  exquisite  coloring,  especially  in  detail,  and 
his  picturesque  arrangement  are  perfection ;  his  fault  is  a  monotony 
in  heads  and  a  certain  coldness  in  feeling ;  on  account  of  this 
monotony,  his  best  pictures  are  those  with  fewest  figures.  His  works 


PICTURE  BY  TENIERS. 

Madrid  Gall. 

are  so  numerous  and  so  excellent,  that  it  is  very  difficult  to  mention  a 
small  number  and  do  him  any  good  degree  of  justice.  The  Louvre, 
Vienna,  Munich,  and  Madrid  galleries  are  richer  in  his  best  works 
than  other  public  collections;  there  are  fine  pictures  of  his  in  private 
galleries  in  England.  Smith  describes  900  pictures  by  him  which 
may  be  counted  on  as  genuine,  and  100  more  at  least  are  known. 
Some  of  his  works  are  large,  but  the  most  are  of  medium  and  small 
sixes.  One  at  Schleissheim  was  thirteen  and  a  half  by  ten  feet,  and 
contained  1138  figures;  others  have  from  150  to  300  figures.  His 
pictures  sell  for  very  large  sums,  and  are  in  all  large  galleries.  As 


564  TENTERS. 

before  said,  it  is  difficult  to  speak  of  his  etchings,  as  they  cannot  be 
separated  from  those  of  his  father  with  any  degree  of  certainty. 

ENGRAVINGS   AFTER   THE    WORKS    OF    TENIERS,    THE   SON. 

Engraver,  ALIAMET,  Jacques.     Two  plates  of  the  Sabbath. 

Engraver,  AVELINE,  Francis  Anthony.     The  Flemish  Musician. 

Engraver,  BAILLIE,  Capt.  William.  The  Interior  of  an  Ale-house; 
very  fine. 

Engraver,  BARON,  Bernard.  The  Card  Players.  The  Temptation 
of  S.  Anthony. 

Engraver,  BAS,  James  Philip  Le.  Teniers  and  his  Family;  fine. 
The  Works  of  Mercy.  The  Prodigal  Son.  Large  Flemish  Festival, 
with  Teniers  and  his  Family. 

Engraver,  BASAN,  Francis.     The  Card  Players.     An  Incantation. 

Engraver,  BEAUVARLET,  James  Firmin.  The  Tric-trac  Players. 
The  Bagpiper. 

Engraver,  BROWNE,  John.     The  Kitchen. 

Engraver,  BRUGGEN,  John  Vander.  An  Old  Peasant,  and  a  Girl 
playing  on  a  Flute.  A  Man  drinking,  and  a  Woman  smoking. 

Engraver,  CANOT,  Peter  Charles.  The  Amorous  Toper.  The 
Dutch  Smokers. 

Engraver,  CHEDEL,  Quintin  Pierre.     Daybreak,  a  Landscape. 

Engraver,  GODFROY,  Francis.     Amusement  of  Brabant. 

Engraver,  GOLE,  John.     The  Tooth-drawer. 

Engraver,  GREENWOOD,  John.     The  Good  Friends. 

Engraver,  HOLLAR,  Wenceslaus.  James  II.,  when  Duke  of  York; 
scarce. 

Engraver,  HOUSTON,  Richard.     Temptation  of  S.  Anthony. 

Engraver,  KAUPERZ,  John  Vitus.     A  Peasant  smoking. 

Engraver,  LAURENT  or  LAWRENCE,  Andrew.     A  Conversation. 

Engraver,  LEMPEREUR,  Louis  Simon.  Two  plates,  Flemish 
Merry-makings. 

Engraver,  LEMPEREUR,  Catherine  Elizabeth.     The  Milkmaid. 

Engraver,  LEPICIE',  Rende  Marie  Elizabeth.     The  Flemish  Cook. 

Engraver,  MAJOR,  Thomas.     Two  Flemish  Festivals. 

Engraver,  MASQUELIER,  Louis  Joseph.  A  View  in  Flanders, 
etched  by  Masquelier  and  finished  by  Le  Bas. 

Engraver,  PETHER,  William.     A  Village  Festival. 

Engraver,  PITTERI,  Gio.  Marco.  Twelfth  Night.  Two  Rustic 
Subjects. 

Engraver,  SOMEH,  John  Van.     A  Flemish  Concert. 

Engraver,  SORNIQUE,  Dominic.     Peasants  regaling. 

Engraver,  SPOONER,  Charles.     Peasants  regaling. 

Engraver,  SULIVAN,  Luke.     The  Temptation  of  S.  Anthony. 

Engraver,  SURRUGUE,  Louis.  A  Flemish  Merry-making.  The 
Fortune  Teller. 


TENTERS  —  THEOTOCOPULI.  565 

Engraver,  WATELET,  Claude  Henry.  A  Corps  de  Garde  of 
Monkeys. 

Teniers,  Abraham,  the  younger  brother  of  the  preceding,  painted 
similar  subjects  in  an  inferior  manner.  These  are  sometimes  mis- 
taken for  the  works  of  the  brother  by 'those  not  experienced  in  judg- 
ing. 

Terburg,  Gerard,  born  at  Zwol  (1608-1681).  A  contemporary 
of  Teniers,  and  like  him  a  painter  of  genre  subjects,  but  those  of  the 
higher  ranks  in  life;  he  usually  represented  but  few  figures,  and 
such  scenes  as  ladies'  toilets,  musical  parties,  conversations,  etc.  He 
excelled  in  painting  elegant  costumes,  and  his  white  satin  dresses  are 
especially  remarkable.  The  general  tone  of  his  pictures  is  cool,  his 
heads  being  warmly  colored.  He  painted  small  portraits,  but  these 
are  rare  in  public  galleries  ;  his  own  is  at  the  Hague.  The  "  Conseil 
Paternel,"  in  the  Amsterdam  Mus.,  is  a  chef-tV ceuvre,  but  has  been 
so  injured  that  the  copies  (original)  in  the  Berlin  and  Bridgewater 
galleries  are  more  satisfactory.  His  works  number  a  little  more  than 
100,  and  are  of  enormous  value.  They  are  in  most  large  European 
collections,  and  about  twenty-five  are  in  England  and  Scotland. 

Testa,  Pietro,  called  II  Lucchesino,  born  at  Lucca  (1611-1650). 
This  artist  is  unimportant  as  a  painter,  but  as  an  etcher  demands  at- 
tention. His  prints  in  Mariette's  Coll.  numbered  ninety- two.  There 
was  scarcely  a  vestige  of  antiquity  in  or  near  Rome  that  he  had  not 
designed.  His  fancy  was  extravagant,  but  his  drawing  was  tasteful, 
and  liis  extremities  well  marked;  his  heads  are  expressive,  and 
his  laces  often  beautiful ;  his  chief  fault  was  in  the  management  of 
light  and  shade. 

Theotocopuli  or  Teoscopolo,  Domenico,  called  H  Greco  and 
El  Griego.  Supposed  to  have  been  born  of  Greek  parentage  in  the 
Venetian  states  (about  1548-1625).  He  is  sometimes  called  the 
pupil  of  Titian;  he  is  certainly  his  imitator.  In  1577  he  lived  in 
Toledo,  and  his  most  important  works  were  executed  in  Spain.  He 
painted  very  unequally,  and  Mr.  Ford  says  that  what  he  did  well  was 
excellent,  and  what  he  did  ill  was  worse  than  anybody  else.  The 
"  Parting  of  the  Raiment  of  Christ,"  painted  for  the  Cath.  of  Toledo, 
was  his  chef-d'ccuvre.  It  is  still  there,  although  the  retablo  in  which 
it  hung,  also  his  own  work,  is  not  to  be  seen.  Teoscopolo  was  an 
excellent  portrait  painter,  and  is  said  to  have  introduced  his  own  like- 
ness and  that  of  his  beautiful  daughter  into  several  fine  works.  Por- 
t raits  of  both  of  them  are  among  the  Spanish  pictures  at  the  Louvre. 
He  was  also  an  architect,  and  some  say  a  wood-engraver.  In  1590  he 
designed  the  ch.  of  the  Augustine  College  at  Madrid,  and  carved  a 
retablo  for  the  high-altar,  which  was  of  his  bad  style.  In  1600  he 
built  two  churches  at  Illescas;  one  of  these  remains.  He  made  the 
plans  for  the  City  Hall  of  Toledo,  carved  retablos  for  the  Hospital  of 
S.  John  Baptist,  and  erected  a  temporary  monument  in  the  Cath.  to 


566  THEOTOCOPULI  —  THORWALDSEN. 

Queen  Margaret  of  Austria,  wife  of  Philip  III.  Theotocopuli  is 
sometimes  confounded  with  Domenico  delle  Greche,  who  was,  per- 
haps, his  father ;  certainly  he  was  older  than  II  Greco. 

Thiele,  Johann  Alexander,  born  at  Erfurt  (1685-1752).  First 
a  soldier,  then  a  landscape  painter,  he  was  appointed  to  the  service 
of  King  Augustus  of  Poland.  The  Dresden  Gall,  has  forty-six  of  his 
works,  which  display  both  good  and  bad  qualities.  They  are  truthful 
in  drawing  and  carefully  executed,  but  the  color  is  not  attractive. 

Thorwaldsen,  Bertel,  born  in  Copenhagen  (1770-1844).1  Son  of 
a  poor  wood-carver,  who  intended  him  for  the  same  profession.  He 
early  showed  a  taste  for  sculpture,  and  was  sent  at  the  age  of  eleven 
years  to  the  free  school  of  the  Royal  Acad.  of  Fine  Arts.  He  showed 
no  talent  for  anything  not  connected  with  his  art,  and  was  never  a 
man  of  literary  culture.  When  seventeen  years  old  he  took  a  prize, 
and  when  twenty-three  gained  the  grand  prize  which  enabled  him  to 
travel  and  study.  Several  of  his  earliest  works  are  in  the  Acad.  at 
Copenhagen.  He  had  received  good  preparatory  instruction  in  his 
native  city,  where  the  best  models  were  placed  before  the  students,  but 
was  crude  and  unfinished  in  manner.  On  account  of  various  hin- 
drances he  did  not  arrive  in  Rome  until  1797.  He  is  represented  at 
this  time  as  indolent  in  everything  but  his  favorite  pursuit,  and  even 
in  matters  regarding  that  he  seemed  almost  as  if  in  a  dream.  But  the 
beauties  of  the  antique  which  he  saw  aroused  him,  and  he  was  accus- 
tomed to  call  the  period  of  his  arrival  in  Rome  the  day  of  his  birth, 
meaning  that  then  he  first  realized  his  powers  and  desired  to  perfect 
them.  But  he  was  embarrassed  pecuniarily,  and  so  affected  by  the 
climate  as  to  suffer  in  health.  The  archaeologist,  Zoega,  was  his 
friend,  and  the  young  man  was  never  satisfied  with  anything  that 
Zoega  could  not  praise.  He  occupied  himself  in  copying  from  the 
works  of  antiquity,  made  models  only  to  destroy  them,  made  a  few 
statues  such  as  "  Achilles  raising  Penthesilea,"  and  "Bacchus  and 
Ariadne,"  but  accomplished  nothing  which  established  a  reputation, 
until  he  modelled  his  "  Jason."  This  was  cast  in  plaster  in  1803.  It 
was  admired,  but  he  received  no  orders.  He  had  been  six  years  the 
dependent  of  the  Acad.,  his  money  was  gone,  and  with  sad  heart  he 
prepared  to  leave  Italy,  when  Mr.  Hope  changed  all  his  life  and  for- 
tune, by  giving  him  a  commission  for  the  "  Jason,"  in  marble.  It  was 
not  until  1828  that  this  good  patron  received  the  statue  completed, 
and  much  blame  has  been  attached  to  Thorwaldsen  for  his  appar- 
ent ingratitude  ;  but  our  limits  do  not  allow  a  statement  of  the 
case.  Meantime,  in  the  house,  of  his  friend  Zoega,  he  had  met  a 
Roman  girl,  Anna  Maria  Magnani,  whom  he  passionately  loved,  and 
who  was  a  powerful  influence  in  his  life.  She  seems  to  have  loved 

1  Those  who  claim  that  the  Norsemen  discovered  America  relate  that  during 
their  stay  upon  our  coast  a  child  was  born,  from  whom  Thorwaldsen's  descent  is 
distinctly  traced. 


THORWALDSEN.  567 

him  as  fondly  as  her  nature  would  allow,  but  she  married  a  man  of 
fortune  whom  she  did  not  love,  M.  d'Uhden.  She  succeeded  at  the 
game  time  in  retaining  her  hold  upon  the  artist,  and  he  signed  an 
agreement  to  provide  for  her  in  case  of  a  rupture  with  her  husband. 
This  soon  came,  and  in  1803  he  received  her  into  his  house,  where 
she  lived,  tormenting  him  by  her  temper  and  jealousy,  and  loving  him 
by  turns,  until  1819,  when  she  disappears  from  his  life.  She  had 
borne  him  a  daughter  for  whom  he  provided  and  arranged  an  honor- 
able marriage.  In  1803  he  made  the  acquaintance  of  Baron  von 
Schubart,  Danish  ambassador  at  Naples,  who  with  his  wife  did  much 
for  the  artist;  they  were  never  weary  of  having  him  at  their  home, 
at  Montenero.  From  1804  his  fame  was  established,  and  he  was 
never  able  to  fulfil  all  the  commissions  he  received.  These  came 
from  all  countries.  He  was  courted  in  all  societies;  he  was  praised 
for  his  art,  and  beloved  for  his  agreeable  and  pleasing  manner;  he 
was  made  honorary  member  of  many  academies,  and  was  finally, 
after  the  death  of  Canova,  elected  President  of  the  Acad.  of  S. 
Luke,  although  a  Protestant.  This  was  in  1825.  It  was  in  1805 
that  he  produced  his  first  important  bas-relief,  the  "  Abduc- 
tion of  Briseis,"  and  it  was  not  long  before  he  stood  first  in  that 
branch  of  his  art.  In  1810  he  was  made  a  Knight  of  Danebrog,  and 
his  countrymen  were  becoming  very  impatient  for  his  return  to  his 
native  land.  It  was  not  until  1819  that  he  complied  with  their  wishes, 
and  then  his  stay  was  one  great  ovation.  But  in  1820  he  returned  to 
Rome,  with  his  mind  full  of  new  works  which  he  was  to  execute.  It 
is  impossible  to  tell  of  all  the  honors  paid  him,  and  the  places  he  vis- 
ited, as  it  is  to  give  an  account  of  the  orders  he  received  and  the 
works  he  did.  They  would  (ill  ;i  volume.  In  1830  he  went  to  Munich 
to  superintend  the  final  arrangements  of  the  monument  of  the  Duke 
of  Leuchtenburg.  The  King  of  Bavaria  had  long  been  his  friend  and 
patron.  He  returned  again  to  Home,  and  not  until  1838  did  he  go 
to  Copenhagen  to  remain.  Then  he  was  received  with  every  possible 
honor,  and  surrounded  by  friends  who  ministered  to  his  remaining 
years  in  every  way  which  could  contribute  to  his  happiness.  Again 
in  1841  he  visited  Rome,  for  the  last  time,  and  his  journey  there  and 
back  to  Copenhagen  was  one  scries  of  most  flattering  receptions  and 
entertainments.  lie.  had  lived  at  Copenhagen  in  apartments  arranged 
for  him  in  the  Charlottenl>urg  Pal.  (the  Acad.  of  Fine  Arts),  and 
the  people  by  public  subscript  ion,  and  with  the  help  of  the  city,  had 
erected  the  Thorwaldsen  Mus.,  which  is  so  grand  a  monument  to 
him.  When  he  returned  to  Copenhagen  for  the  last  time  it  was  just 
completed,  and  here  he  was  received  the  day  after  his  arrival.  It 
had  been  hung  with  garlands  for  the  occasion,  and  he  went  over  the 
whole  building  and  into  the  .court,  where  he  was  to  be  buried.  Here 
he  stood  with  bowed  head,  while  all  kept  silence.  Can  any  one  tell 
the  thoughts  that  must  have  filled  his  mind,  or  imagine  the  feelings 


568  THORWALDSEN. 

of  his  heart  ?  Here  he  must  be  buried,  yet  here  must  he  live  in  the 
glorious  works  of  his  hand  which  would  remain  to  testify  to  his  im- 
mortal genius.  Thorwaldsen  lived  three  years  longer,  and  was  always 
busy.  His  mind  was  unimpaired,  and  his  powers  of  conception  quick 
and  strong,  but  his  execution  lost  in  exquisite  finish,  and  was  un- 
equal. He  went  much  into  society,  was  fond  of  the  theatre,  and  under 
the  care  of  a  devoted  servant,  Wilkens,  enjoyed  all  the  comforts  and 
pleasures  possible  to  a  man  of  seventy-four.  The  Baroness  von 
Stampe  was  never  weary  in  showing  him  the  kindest  attentions ;  he 
passed  much  time  at  her  home  at  Nysb'e,  where  he  had  a  studio.  On 
the  24th  of  March,  1844,  she  went  for  him  to  dine  at  her  house.  He 
had  not  been  well  that  day,  and  wished  to  remain  at  home,  but  she 
had  invited  other  friends  to  meet  him,  and  his  daughter,  then  in  Co- 
penhagen, was  also  to  be  of  the  party.  He  was  modelling  a  bust  of 
Luther.  The  Baroness  persuaded  him  to  leave  it,  and  he  threw  down 
before  the  bust  his  handful  of  clay,  and  thrust  his  trowel  into  it.  He 
never  took  it  again,  and  the  bust  and  clay,  just  as  he  left  it,  are  now 
seen  in  theMus.,  preserved  under  glass,  with  the  print  of  his  hand  in 
the  clay.  He  talked  gayly  with  his  friends  at  dinner,  and  in  speak- 
ing of  the  Mus.  said  that  he  could  die  when  he  chose,  since  Bindes- 
bb'll  had  finished  his  tomb.  While  driving  he  met  the  architect,  and 
other  friends.  After  dinner  he  went  to  the  theatre,  and  it  was  then 
seen  that  he  was  ill.  He  was  taken  out  with  all  haste,  but  when  laid 
on  a  sofa  it  was  found  that  Thorwaldsen  was  dead.  The  Charlotten- 
burg  joined  the  theatre,  and  there,  in  the  hall  of  antique  sculpture, 
he  was  laid.  He  was  carried  to  the  Frue  Kirke,  which  he  had  so 
beautifully  adorned  with  sculptures,  and  there  he  rested  for  nearly 
four  years,  when,  in  1848,  his  body  was  borne  to  the  vault  in  the 
centre  of  the  Thorwaldsen  Mus.,  where  above  it  grows  the  evergreen 
ivy,  a  fitting  emblem  of  that  fame  which  can  never  fade.  Thiele,  in 
his  magnificent  book  called  "  Thorwaldsen  and  his  Works,"  gives 
plates  and  describes  2Q£  works  by  this  master.  This  shows  at  once 
how  impossible  it  is  to  speak  of  them  with  any  degree  of  satisfaction 
here.  But  as  one  journeys  from  Rome,  where  is  his  tomb  of  Pius  VII. 
and  the  monument  of  Card.  Consalvi,  to  Copenhagen,  where  in  the 
Frue  Kirke  and  the  Thorwaldsen  Mus.  so  many  of  his  sculptures  are 
gathered,  there  are  few  cities  not  enriched  by  some  work  of  his  hand. 
Among  his  greater  works  may  be  mentioned  the  frieze  at  the  Quiri- 
inal  Pal.  in  Rome,  representing  the  entry  of  Alexander  into  Babylon; 
the  Lion  of  Lucerne;  the  statues,  groups,  and  bas-reliefs  for  the  Frue 
Kirke  at  Copenhagen ;  more  than  thirty  sepulchral  and  commemora- 
tive monuments  in  various  countries  and  cities ;  a  series  of  sixteen 
bas-reliefs  of  the  history  of  Cupid  and  Psyche;  twenty  bas-reliefs  of 
Genii;  twenty -two  of  figures  from  antique  fable,  etc.,  etc.  Thorwald- 
sen has  been  called  a  posthumous  Greek,  and  it  is  true  that  in  him 
the  spirit  of  antique  sculpture  seems  to  have  revived.  No  circum- 


THORWALDSEN  —  TINTORETTO.  569 

stance  of  his  youth  pointed  to  such  success,  but  the  power  within 
him  asserted  itself  and  forced  him  to  be  the  great  man  that  he  be- 
came. His  characteristics  are  severe  simplicity,  perfect  beauty  in 
form,  distinctness,  and  repose.  The  early  works  of  this  sculptor  and 
the  religious  subjects  of  his  later  years  are  Strikingly  opposed  to  each 
other  in  sentiment,  and  the  latter  wonderfully  unite  antique  beauty 
with  Christian  sentiment.  In  the  words  of  Thiele,  "He  has  chal- 
lenged and  has  received  the  decision  of  the  world's  Supreme  Court, 
that  his  name  shall  stand  on  the  rolls  of  immortality.  And  if  his 
life  might  be  embodied  in  a  single  emblem,  perhaps  it  should  be  that 
of  a  young  lion,  with  an  eye  that  glows  and  flashes  fire,  while  he  is 
bound  with  ivy,  and  led  by  the  hand  of  the  three  Graces." 

Thys,  Peter,  called  Typrus,  born  at  Antwerp  (1616-1683).  A 
portrait  painter  who  formed  his  style  after  that  of  Vandyck.  He 
also  painted  some  historical  subjects.  His  works  are  seen  in  the 
Mus.  of  Antwerp  and  in  the  ch.  of  S.  Jacques. 

Tibaldi,  Pellegrino,  born  at  Bologna  (1527-1600).  An  architect 
and  painter  who  was  much  praised  by  the  Carracci,  and  called  the 
reformed  Michael  Angelo.  After  distinguishing  himself  in  Ancona, 
Pavia,  and  Milan,  he  was  called  to  Spain  by  Philip  II.  to  decorate 
the  Escorial.  He  remained  nine  years  in  Spain,  and  executed  many 
frescoes  which  arc  now  in  too  injured  a  state  to  be  well  judged;  he 
was  honored  with  the  title  of  Marquis,  and  richly  rewarded  in  money. 
His  chef-tfwuore  there  was  the  ceiling  of  the  Library,  on  which  he 
represented  the  arts  and  sciences,  ancient  philosophers,  and  the 
Doctors  of  the  Church,  and  has  ornamented  the  whole  with  groups 
of  children,  wreaths,  insignia,  etc. 

Tibaldi,  Domenico,  born  at  Bologna  (1540-1582).  One  of  the 
earliest  Bolognese  who  handled  the  graver.  His  etchings  are  so 
well  done  that  it  would  seem  that  the  nine  which  are  known  must 
be  but  a  small  portion  of  what  he  did  in  order  to  attain  such 
excellence. 

Tilborgh,  Egidiua  van,  born  at  Brussels  (1625-1678?).  A 
painter  of  considerable  merit  who  represented  scenes  from  peasant 
life,  fairs,  and  kindred  subjects.  No.  972,  Dresden  Gall.,  is  one  of 
his  hcst  works. 

Tintoretto,  so  called  from  his  father's  trade  (the  dyer),  real 
name  Jacopo  Robusti  (1512-1594).  The  art  of  Venice  had  fallen 
into  decline  in  the  last  half  of  the  IGth  century.  Tintoretto  shows 
a  strange  mingling  of  good  and  bad;  his  works  sometimes  rise  to 
excellence,  and  again  sink  to  absolute  unworthiness.  His  colossal 
design  and  rapid  manner  of  execution  resulted  in  a  strong,  natural- 
istic style,  wanting  in  beauty  and  refinement.  It  is  said  that  his 
motto  was,  "  The  coloring  of  Titian,  the  drawing  of  Michael 
Angelo."  He  certainly  studied  the  works  of  these  masters  with 
great  industry.  His  best  productions  are  slight  in  treatment,  and 


570 


TINTORETTO. 


the  others  are  coarse  and  unfinished  in  execution;  his  color  has 
suffered  from  time,  and  it  is  not  surprising  that  we  enjoy  his  portraits 
more  than  his  other  pictures.  These  are  much  more  carefully 
treated  than  his  large  subjects;  they  are  freely  and  even  grandly 
conceived,  and  are  full  of  life.  Some  of  his  paintings  are  enormous; 
it  would  seem  that  the  larger  the  canvas,  the  more  he  was  pleased. 
One  of  his  works  is  74x30  feet,  and  the  school  of  S.  Roch  has  57 
large  compositions  of  his,  in  which  many  of  the  figures  are  life-size. 
His  two  most  famous  pictures  are  the  "  Miracle  of  S.  Mark,"  in  the 
Acad.  of  Venice,  and  the  "  Crucifixion,"  in  the  school  of  S.  Roch; 


ALLEGORICAL  PICTURE.      BY  TINTORETTO. 

In  the  Doge's  Pal.,  Venice. 

the  latter  is  probably,  all  things  considered,  his  best  work.  It  is 
like  a  great  theatrical  representation,  in  which  are  crowds  of  figures 
on  foot  and  on  horseback,  with  all  imaginable  expressions  and  move- 
ments. The  immense  canvas  referred  to  is  in  the  Doge's  Pal., 
and  represents  "Paradise."  A  small  sketch  of  it,  by  his  own 
hand,  in  the  Louvre,  is  much  pleasanter.  Among  his  worst  pro- 
ductions is  the  "  Last  Supper,"  in  S.  Trovaso.  S.  John  is  fast 
asleep;  another  apostle  is  uncovering  a  dish  upon  the  floor,  from 
which  a  cat  is  also  eating;  a  chair  is  overthrown  as  if  there  had 
been  a  scuffle;  some  of  the  twelve  are  asking,  "Lord,  is  it  I?" 
with  gestures  absolutely  burlesque,  and  the  whole  work  is  wanting 


TINTORETTO  —  TITIAN.  571 

in  the  dignity  which  belongs  to  the  subject  or  to  art.  One  can 
scarcely  realize  that  it  is  the  same  scene  which  Leonardo  depicted 
a  century  before.  A  portrait  of  a  bald-headed  man  is  in  the  Louvre, 
and  three  fine  ones  are  at  Berlin;  several  works  of  his  are  in  the 
National  Gall,  and  other  collections  in  England.  Marietta  Robusti 
(1560-1590)  was  instructed  by  her  father,  and  became  so  good  a 
portrait  painter  that  she  was  invited  to  Spain  by  Philip  II. ,  but  her 
father  could  not  consent  to  a  separation  from  her.  She  has  left 
some  excellent  pictures. 

ENGRAVINGS   AFTER   THE    WORKS    OF    TINTORETTO. 

Engraver,  CARRACCI,  Agostino.  The  Great  Crucifixion;  in  three 
sheets.  S.  Jerome,  with  a  Lion,  regarding  the  Virgin  in  the  Clouds; 
1598.  Mercury  and  the  Graces. 

Engraver,  DESPLACES,  Louis.     The  Purification. 

Engraver,  FIALETTI,  Odoardo.  The  Marriage  in  Cana  of 
Galilee. 

Engraver,  HORTEMELS,  Frederic.     The  Birth  of  S.  John  Baptist. 

Engraver,  JACKSON,  John  Baptist.  Martyrdom  of  S.  Mark. 
Murder  of  the  Innocents. 

Engraver,  KILIAN,  Wolfgang.     The  Assumption  of  the  Virgin. 

Engraver,  KILIAN,  Philip  Andrew.  The  Adulteress  before 
Christ. 

Engraver,  LEONARDIS,  Gio.     The  Golden  Calf;  1768. 

Engraver,  LORENZINI,  Fra  Antonio.  S.  Augustine,  with  a  Glory 
of  Angels. 

Engraver,  MANNL  or  MAENNL,  Jacob.     Susanna  at  the  Bath. 

Engraver,  MELLAN,  Claude.  Rebecca  meeting  the  Servant  of 
Abraham  ;  esteemed  his  best  print. 

Engraver,  MITELLI,  Giuseppe  Maria.     The  Finding  of  the  Cross. 

Engraver,  SADELER,  Giles.  Murder  of  the  Innocents.  The  Last 
Supper. 

Engraver,  VAILLANT,  Wallerant.     The  Bust  of  a  Warrior. 

Engraver,  VISSCHER,  Cornelius.     The  Entombing  of  Christ. 

Engraver,  VOLPATO,  Gio.     The  Marriage  in  Cana. 

Tisio.     See  Garofalo. 

Titian,  real  name  Tiziano  Vecellio,  called  Da  Cadore.  Born  at  the 
c;isilc  of  Cadore  in  Friuli  (1477-1516).  When  ten  years  old  he  had 
already  shown  his  inclination  for  art,  and  was  sent  to  Venice  to  the 
care  of  his  uncle.  His  first  instructor  was  Sebastian  Zuccati.  He 
was  afterwards  the  pupil  of  both  Gentile  and  Gio.  Bellini.  Young  as 
he  was  he  felt  a  dissatisfaction  with  all  the  painting  he  had  seen,  but 
in  the  school  of  the  Bellini  he  acquired  correct  drawing  and  the 
power  of  perfect  imitation.  It  was  not  until  he  saw  the  works  of 
Giorijione  that  lie  realized  what  painting  might  become,  and  from 
this  time  he  followed  the  leadings  of  his  own  aspiring  genius.  When 


572  TITIAN. 

eighteen  years  old  Titian  painted  a  portrait  of  the  noble  Barbarigo 
which  excited  universal  admiration,  and  soon  after  he  was  employed 
with  Giorgione  to  paint  the  two  fronts  of  the  Fondaco  de  Tedeschi. 
That  of  Titian  was  preferred,  and  added  much  to  his  growing  repu- 
tation. In  1511  Giorgione  died,  and  Titian  succeeded  him  in  im- 
portant commissions  in  which  he  had  been  employed.  In  1512  Gio. 
Bellini  died,  leaving  unfinished  a  painting  in  the  Sala  del  Gran  Con- 
siglio,  which  Titian  finished.  In  1514  he  was  invited  to  Ferrara  by 
the  Duke  Alfonso,  for  whom  he  painted  his  celebrated  pictures  of 
Bacchus  and  Ariadne  and  other  fabulous  subjects.  At  Ferrara  he 
made  the  acquaintance  of  Ariosto,  and  became  his  intimate  friend. 
He  painted  the  portrait  of  the  poet,  who,  in  turn,  introduced  him  into 
his  "  Orlando  Furioso."  From  this  time  Titian  received  all  the 
honor  that  could  be  conferred  upon  an  artist.  He  not  only  painted 
the  portraits  of  Popes,  princes,  and  celebrated  men,  but  he  associated 
with  them  as  a  friend.  In  1548  he  went  to  Rome,  where,  it  is  said, 
Michael  Angelo  visited  him.  We  are  told  that  he  praised  the  color- 
ing of  Titian,  but  lamented  that  he  paid  no  more  attention  to  design. 
Before  this  time  Titian  had  become  the  friend  of  Aretino.  It  has 
been  said  that  Titian  visited  Spain,  but  this  is  not  satisfactorily 
proved.  In  truth,  the  letters  of  Aretino  to  Titian  and  other  friends, 
written  between  1530  and  1555,  which  may  be  said  to  record  the 
movements  of  Titian,  make  no  mention  of  a  journey  to  Spain.  Some 
of  his  finest  pictures  are  in  the  royal  palaces  at  Madrid,  and  some  of 
his  best  portraits  were  of  the  royal  family  of  Spain.  But  it  is  well 
known  that  many  of  his  pictures  were  not  painted  from  life,  and  that 
of  the  Empress  Isabella  was  finished  at  Venice  in  1544.  The  Em- 
peror Charles  V.  was  a  most  liberal  patron  of  Titian,  and  he 
attended  him  twice  at  Augsburg.  He  died  of  the  plague  when 
almost  a  century  old,  and  his  latest  works  have  been  likened  to  the 
foolish  prattle  of  old  age.  As  a  colorist  Titian  has  never  been  ap-  ~~1 
proached.  In  truth,  his  color  is  so  near  to  nature  that  it  is  almost  an 
illusion.  As  a  painter  of  portraits  he  claims  the  highest  rank,  and 
his  landscapes  were  most  excellent.  But  in  his  historical  and  other 
subjects  he  falls  short  of  the  ideal,  and  his  characters  seem  rather  de- 
signed from  life  about  him  than  from  the  artist's  conception  of  what 
they  might  have  been.  His  pictures  are  very  numerous,  and  found 
in  almost  every  collection.  The  finest  of  his  early  works  is  "  Christ 
with  the  Tribute  Money,"  in  Dresden.  Of  his  sacred  pictures, 
painted  later  in  life,  the  great  "  Assumption  of  the  Virgin,"  in  the 
Acad.  of  Venice,  is  beautiful  and  wonderful  in  the  effect  which  is 
produced  by  the  manner  in  which  the  Virgin  is  borne  on  the  clouds, 
as  if  divinely  impelled,  without  the  customary  attendant  angels. 
The  "  Entombment  of  Christ,"  in  the  Manfrini  Pal.  at  Venice,  is 
perhaps  the  most  important  work  of  Titian.  It  is,  at  least,  the  best 
existing  representation  of  the  subject,  and  has  exercised  more  in- 


S.    SEBASTIAN.        vlY   TITIAN. 

Vatican. 


TITIAN.  575 

fluence  upon  art  than  any  other  Venetian  picture.  It  is  highly  fin- 
ished; the  arrangement  of  the  figures  is  excellent;  beauty  of  form, 
dignity  of  expression  and  gesture,  combined  with  deep  feeling  and 
great  emotion,  are  all  there,  but  above  all  is  the  general  expression 
of  sorrow.  A  repetition,  in  the  Louvre,  is  almost  equal  to  the  origi- 
nal in  Venice.  Of  a  different  class  is  the  "  Presentation  of  the  Vir- 
gin in  the  Temple,"  also  in  the  Acad.  at  Venice.  It  is  incomparable 
in  color,  and  represents  a  cheerful  company,  from  all  classes  in  life, 
filled  with  curiosity  and  sympathy.  Titian  painted  many  altar-pieces 
representing  Enthroned  Madonnas  and  the  usual  class  of  subjects. 
Some  excellent  ones  are  in  the  Dresden  Gall.,  the  Escorial,  the  Pitti 
Pal.,  etc.  Two  other  celebrated  pictures  are  the  "  S.  Feter  Martyr,"  in 
SS.  Giovanni  e  Paolo,  at  Venice,  and  the  "  Martyrdom  of  S.  Lorenzo," 
in  the  Jesuit's  church,  at  Venice.  The  first  of  these  has  long  been 
placed  in  the  highest  rank  of  excellence.  His  masterly  representa- 
tion of  the  nude  female  figure  may  be  seen  in  the  two  Venuses  in  the 
Uffizi,  the  Danae  at  Naples  and  one  at  Vienna,  similar  pictures 
at  Dresden,  in  the  Madrid  Gall.,  and  in  a  number  of  pictures  in 
England.  The  "  Bacchus  and  Ariadne,"  in  the  National  Gall,  at 
London,  painted  for  the  Duke  of  Ferrara,  is  full  of  poetic  beauty, 
and  is  a  most  charming  conception  of  the  ancient  myth.  The  "  Ar- 
rival of  Bacchus  at  the  Island  of  Naxos,"  and  a  "  Sacrifice  to  the 
Goddess  of  Fertility,"  also  painted  at  Ferrara,  are  at  Madrid.  The 
"  Venus  del  Pardo,"  in  the  Louvre,  has  been  so  much  injured  that 
its  chief  beauty  is  now  in  the  landscape.  A  powerful  picture  of  the 
same  class  is  at  Munich,  and  represents  "  Venus  instructing  a  Maiden 
in  the  Mysteries  of  Bacchus."  That  of  Del  Vasto,  with  his  mistress 
and  other  figures,  at  Vienna,  is  in  some  respects  a  repetition  of  the 
Munich  picture.  Of  his  beautiful  symbolic  pictures,  the  "  Three 
Ages,"  in  the  Manfrini  Pal.  at  Venice,  and  "  Sacred  and  Profane 
Love,"  in  the  Borghese  Pal.,  deserve  mention.  His  fine  portraits 
are  almost  numberless.  They  strike  one  as  having  been  taken  at  the 
very  best  and  happiest  moment  of  the  existence  of  the  subjects,  and 
his  female  portraits  excite  the  highest  admiration.  Those  which  are 
called  by  the  name  of  "  Titian's  Mistress"  are  beautiful  above  all. 
The  "  Flora,"  in  the  Uffizi,  "  La  Bella  di  Tiziano,"  in  the  Pitti  Pal., 
and  another  of  the  same  name  in  the  Sciarra  Gall,  at  Rome,  are  un- 
rivalled. The  picture  of  his  daughter  Lavinia  is  often  repeated. 
One  of  the  best  is  in  the  Berlin  Mus.  Titian  was  married  at  the  age 
of  thirty-four  to  Lucia,  a  Venetian  lady,  by  whom  he  had  three  chil- 
dren. One  of  his  sons,  named  Horatio,  died  of  the  plague  at  the 
SMIIIC  time  with  his  father.  Although  those  who  died  of  this  disease 
were  not  allowed  the  honors  of  burial,  an  exception  was  made  in  the 
case  of  Titian,  and  his  remains  were  deposited  in  the  ch.  of  the 
Frari.  In  addition  to  his  paintings  Titian  engraved  both  on  copper*^ 
ami  wood.  His  copper-plates  consisted  of  several  large  landscapes,  ' 


576  TITIAN. 

etched  in  a  slight,  masterly  manner.     His  wood-cuts  will  be  found 
in  the  following  list. 

ENGRAVINGS    AFTER    THE    WORKS    OF    TITIAN. 

Engraver,  ANDERLONI,  Pietro.     The  Adoration  of  the  Shepherds. 

Engraver,  ANDREANI,  Andrea.  The  Deluge;  large  print  in  four 
sheets;  marked  with  cipher.  Pharaoh's  Host  destroyed  in  the  Red 
Sea;  large  print  in  four  sheets;  1585;  with  cipher.  The  lower  part 
of  the  picture  of  S.  Nicholas;  Andreani,  intagliat,  Mantoano.  The 
Triumph  of  the  Church;  Christi  Triumphus ;  large  frieze  in  eight 
sheets,  dedicated  to  the  Duke  of  Mantua  in  1599,  and  published  in 
Rome,  1608. 

Engraver,  AUBIN,  Augustin  de  St.     Venus  a  la  Coquille. 

Engraver,  AUDRAN,  Charles.  The  Virgin  and  Child,  S.  John 
presenting  an  Apple,  and  S.  Catherine  kneeling;  very  fine. 

Engraver,  AUDRAN,  Gerard.     Ganymede;  an  octagon. 

Engraver,  BARON,  Bernard.  The  Cornaro  Family.  Jupiter  and 
Antiope;  his  best  plate. 

Engraver,  BEATRICI,  Niccolo.  Christ  on  the  Mount  of  Olives; 
marked,  N.  B.  F.  S.  Jerome  kneeling  before  a  Crucifix ;  marked, 
N.  C.  L.  F. 

Engraver,  BECCAFUMI,  Domenico.  The  Nativity;  a  wood-cut; 
fine. 

Engraver,  BERTELLI,  Fernando.  Venus  and  Cupid ;  etched  by 
F.  Bertelli;  Nic.  Bertelli,  exc. ;  1566. 

Engraver,  BERTELLI,  Lucas.  A  Woman  and  Children  warming 
themselves  by  a  Fire;  Lucce  Bertelli,  ex. 

Engraver,  BLOEMAERT,  Abraham.     A  Naked  Infant. 

Engraver,  BLOEMAERT,  Cornelius.     The  Madonna. 

Engraver,  BLOND  or  BLON,  James  Christopher  le.  The  Repose  in 
Egypt.  The  Entombing  of  Christ. 

Engraver,  BOLDRINI,  Joseph  Nicholas.  The  Offering  of  the  Wise 
Men.  S.  Jerome  praying.  SS.  Catherine,  Sebastian,  and  four 
others.  Venus  seated  on  a  Bank,  holding  Cupid;  a  Squirrel  on  a 
Tree;  Titianus,  inv. ;  Nicolaus  Boldrinus  Vicentinus  incidebat;  1566. 

Engraver,  BONASONI,  Giulio.  Cardinal  Pietro  Bernbo,  jet.  77. 
The  Entombing  of  Christ;  1563. 

Engraver,  CARAGLIO  or  CARALIUS,  Gio.  Giacomo.  The  Annun- 
ciation; Titiani,  figurarum  frc. ;  Jac.  Caraglio.  The  Punishment  of 
Tantalus. 

Engraver,  CARRACCI,  Agostino.     The  Trinity. 

Engraver,  CAVALLERIIS,  Gio.  Batista.  Susanna  and  the  Elders; 
1586. 

Engraver,  CHAVEAU,  Francis.  Christ  at  Ernmaus;  called  "The 
Table  Cloth;  "  engraved  also  by  Masson. 

Engraver,    COKT,    Cornelius.     The    Annunciation.     Another  An- 


TITIAN.  577 

nunciation.  The  Martyrdom  of  S.  Lawrence;  1571.  The  Trinity; 
called  "  All  Saints."  S.  Jerome  in  the  Wilderness,  reading.  S.  Je- 
rome in  the  Wilderness,  kneeling  before  a  Crucifix  at  the  entrance 
of  a  Cavern;  in  Venetia,  Corn.  Cort.,  /.;  scarce.  The  Magdalene; 
half-length.  The  Magdalene  in  the  Desert,  before  a  Crucifix.  Tar- 
quin  and  Lucre tia;  1571.  Diana  and  Calista.  Prometheus.  Rogero 
liberating  Angelica  from  the  Dragon. 

Engraver,  CUNEGO,  Domenico.     Ganymede. 

Engraver,  DALEN,  Cornelius  Van.  Pietro  Aretino,  with  a  Book. 
Gio.  Boccace.  Georgio  Barbarelli,  called  Giorgione.  Sebastiano  del 
Piombo. 

Engraver,  DANCKERT  or  DANCKERS,  Dancker.  Venus  and  Cupid, 
with  a  Satyr. 

Engraver,  DESPLACES,  Louis.     Jupiter  and  Danae. 

Engraver,  DUFLOS,  Claude.     Christ  at  Table  with  the  Disciples. 

Engraver,  HOLLAR,  Wenceslaus.  The  Ecce  Homo,  with  many 
figures. 

Engraver,  JACKSON,  John  Baptist.  S.  Peter  Martyr.  The 
Descent  of  the  Holy  Ghost. 

Engraver,  JODE,  Peter  de,  the  Elder.  The  Virgin-  and  Child. 
Marriage  of  S.  Catherine.  Large  Holy  Family. 

Engraver,  JODE,  Peter  de,  the  Younger.  Holy  Family  with  SS. 
Elizabeth  and  John  and  Zacharias. 

Engraver,  KASSEL,  Theodore.     Charles  V. 

Engraver,  LASNE,  Michael.     An  Ecce  Homo. 

Engraver,  MANNL  or  MAENNL,  Jacob.  Venus,  with  Cupid  hold- 
ing a  Mirror.  The  Ecce  Homo ;  half-length.  Mater  Dolorosa.  The 
Madonna. 

Engraver,  MASSON,  Anthony.  Christ  at  Emmaus;  very  cele- 
brated, and  known  as  "  The  Table  Cloth." 

Engraver,  MEYSSENS,  John.     The  Madonna. 

Engraver,  MITELLI,  Giuseppe  Maria.     David  and  Goliath. 

Engraver,  MORIN,  John.     The  Virgin  adoring  the  Child;  fine. 

Engraver,  Musis,  Agostino  de.     Charles  V.  holding  his  Sword. 

Engraver,  NATALIS,  Michael.  The  Marquis  del  Guasto,  with  his 
Mistress  represented  as  Venus. 

Engraver,  PERSYN,  Regnier  de.     The  Portrait  of  Ariosto. 

Engraver,  PICCHIANTI,  Gio.  Domenico.  Sebastian  del  Piombo. 
The  Tribute  Money.  A  Madonna. 

Engraver,  PODESTA,  Andrea.  The  Triumph  of  Bacchus.  Bac- 
chus and  Ariadne.  Silenus,  supported  by  Satyrs  and  Bacchanals. 

Km/raver,  PONTIUS,  Paul.     The  Entombing  of  Christ. 

Engraver,  RAVENET,  Simon  Francis.  The  Emblem  of  Human 
Life. 

Engraver,  ROTA,  Martino.     Martyrdom  of  S.  Peter.     Mary  Mag- 
dalene, penitent.     Prometheus  chained  to  the  Rock. 
37 


578  TITIAN  —  TOLEDO. 

Engraver,  ROUSSELLET,  Giles.     The  Entombing  of  Christ. 

Engraver,  SANUTO  or  SANUTUS,  Giulio.     Venus  and  Adonis. 

Engraver,  SCARAMUCCIA,  Luigi,  called  II  Perugino.  Christ 
crowned  with  Thorns. 

Engraver,  SMITH,  John.  A  set  of  ten  plates  of  the  Loves  of  the 
Gods. 

Engraver,  STEEN,  Francis  Vander.     The  Holy  Family. 

Engraver,  STRANGE,  Sir  Robert.  Venus  reclining;  after  the 
picture  in  the  Florentine  Gall.;  1768.  Danae;  from  a  picture  be- 
longing to  the  King  of  Naples;  1768.  Venus  and  Adonis;  same 
Coll.;  1762.  Venus  blinding  Cupid;  1769. 

Engraver,  TIBALDI,  Domenico  Pellegrino.    Penitent  Magdalene. 

His  own  Plates  (wood-cuts). 

The  Marriage  of  S.  Catherine ;  inscribed,  Titianus  Vecellius  inventor 
lineavit. 

Samson  and  Delilah. 

The  Triumph  of  Faith,  represented  by  a  procession  of  Patriarchs, 
Evangelists,  Saints,  Martyrs,  etc.;  a  long  frieze  of  eight  or  ten 
prints.  1505. 

Engraver,  VAILLANT,  Wallerant.     Holy  Family. 

Engraver,  VANDYCK,  Sir  Anthony.  Titian  with  his  Mistress 
leaning  on  a  Casket  with  a  Skull ;  Titiano,  pinx. ;  A.  Vandyck,fec. 

Engraver,  VANUDEN,  Lucas.  Two  landscapes;  one  with  the 
Holy  Family,  and  one  with  the  Good  Samaritan. 

Engraver,  Vico  or  Vicus,  Enea.     The  Annunciation. 

Engraver,  ZUCCHI,  Andrea.  Tobit  and  the  Angel.  S.  John  the 
Evangelist. 

Engraver,  ZUCCHI,  Lorenzo.     The  Tribute  Money. 

Tivoli,  Rosa  di.     See  Roos. 

Tobar,  Don  Alonso  Miguel  de  (1678-1758).  This  Spanish 
painter  was  celebrated  chiefly  for  his  fine  copies  of  the  works  of  Mu- 
rillo,  and  there  is  little  doubt  that  some  which  are  called  replicas  ar« 
by  the  hand  of  Tobar.  He  was  also  a  good  portrait  painter,  and  exe- 
cuted a  few  original  religious  and  historical  subjects. 

Tol,  Dominicus  van.  This  painter  was  so  good  an  imitator  of 
Ger*d  Dow,  that  his  pictures  are  frequently  attributed  to  that  mas- 
ter. Some  of  his  best  works  are  in  the  Amsterdam  and  Dresden 
galleries. 

Toledo,  Juan  de,  born  at  Lorca  (1611-1665).  He  entered  the 
army  at  an  early  age.  His  gallantry  soon  raised  him  to  the  rank  of 
captain  of  horse.  His  campaigns  were  in  Italy.  This  gave  him  an 
opportunity  to  perfect  himself  in  the  art  he  had  studied  under  his 
father.  After  his  return  to  Spain  he  become  a  reputable  painter  of 
small  military  subjects. 


TORBIDO  —  TRUMBULL.  579 

Torbido,  Francesco,  called  II  Moro.  Authorities  differ  hope- 
lessly regarding  the  time  of  his  birth.  He  is  called  a  pupil  of  Gior- 
gione.  His  drawing  was  correct,  his  finish  careful,  and  his  color 
brilliant,  like  that  of  his  reputed  master.  His  more  important  works 
are  in  the  Cath.  of  Verona  and  in  S.  Maria  Maggiore,  Venice.  His 
easel  pictures  are  seen  in  private  galleries  in  Italy.  He  painted 
many  portraits. 

Torre,  Flaminio,  born  at  Bologna  (1621-1661).  His  great  excel- 
lence as  a  painter  consisted  in  his  power  of  copying  the  works  of 
great  masters  with  wonderful  exactness.  He  made  a  few  good  etch- 
ings. Bartsch  describes  seven,  after  Guido,  Ludovico  and  Agostino 
Carracci,  and  his  own  designs,  which  are  in  demand  for  the  portfolios 
of  collectors. 

Torregiano,  Fiero.  The  first  notable  act  of  this  sculptor  was 
the  disgraceful  one  of  giving  Michael  Angelo  a  blow,  which  broke 
his  nose,  and  disfigured  him  for  life.  When  this  occurred  they  were 
fellow-students  in  the  gardens  of  S.  Mark,  but  the  anger  of  Lorenzo 
de'  Medici  forced  Torregiauo  to  leave  Florence,  and  he  went  to 
Rome.  He  became  a  soldier,  and  after  ten  years,  in  1503,  went  to 
England  and  entered  the  service  of  Henry  VTQ.  as  a  sculptor.  His 
greatest  work  here  was  the  tomb  of  Henry  VH.  in  Westminster. 
Although  he  was  well  patronized,  his  restless  disposition  would  not 
allow  him  to  remain  long  quiet,  and  he  went  next  to  Spain  and  settled 
at  Seville,  where  he  probably  died.  So  much  doubt  hangs  over  the 
different  works  ascribed  to  him  in  Seville,  that  it  is  quite  impossible 
to  decide  concerning  them.  The  S.  Jerome,  in  the  Mus.,  is  perhaps 
the  only  authenticated  work  of  his  —  and  this  is  not  supported  by 
documentary  evidence. 

Tribolo,  real  name  Niccolo  Braccini  (1485-1550).  This  sculptor 
played  no  important  part  as  an  artist.  His  best  works  are  in  S. 
Petronius  at  Bologna,  and  in  the  Santa  Casa  at  Loreto.  He  was 
much  employed  in  decorations  for  public  occasions  in  Florence,  and 
at  the  time  of  his  death  was  occupied  in  the  decoration  of  the 
pleasure  grounds  of  the  Villa  Castello,  where  he  made  two  beautiful 
fountains. 

Tristan,  Luis,  born  near  Toledo  (1594-1649).  A  good  painter, 
whom  Velasquez  followed  in  preference  to  his  master,  Pacheco. 
Tristan  was  a  pupil  of  Theotocopuli,  and  was  much  favored  by  that 
master.  Seven  leagues  from  Toledo  is  the  quaint  old  town  of  Yepes. 
One  side  of  its  strange  old  market-place  is  its  church,  and  here  Tris- 
tan executed  a  series  of  pictures  which  were  his  chefs-d'oeuvre.  The 
town  is  picturesque,  with  its  Avails  and  gates,  and  not  long  since  its 
only  mode  of  communication  with  the  outside  world  was  by  means  of 
little  carts.  Tristan's  pictures  are  seen  in  Toledo  and  Madrid. 

Trumbull,  John,  born  at  Lebanon,  Connecticut  (1756-1843). 
Son  of  Jonathan  Trumbull,  colonial  governor  of  Connecticut.  He 


580  TRUMBULL. 

may  be  called  the  painter  of  the  American  Revolution,  for  it  was  in 
the  illustration  of  its  events  and  in  representing  the  men  who  were 
engaged  in  it,  that  his  brush  was  principally  employed.  He  was  a 
graduate  of  Harvard,  and  aide  to  Washington,  and  a  colonel  under 
Gates.  In  1 780  he  went  to  France  and  then  to  London,  where  he 
studied  under  West.  After  the  execution  of  Andre"  he  was  arrested 
as  a  spy.  When  examined  before  the  authorities  he  said,  u  I  am  an 
American;  my  name  is  Trumbull;  I  am  a  son  of  him  whom  you  call 
the  rebel  governor  of  Connecticut;  I  have  served  in  the  rebel  army; 
I  have  had  the  honor  of  being  an  aide-de-camp  to  him  whom  you  call 
the  rebel  George  Washington.  I  am  entirely  in  your  power;  treat 
me  as  you  please,  always  remembering  that  as  I  may  be  treated,  so 
will  your  friends  in  America  be  treated  by  mine."  After  eight 
months  in  prison  he  was  released  upon  condition  that  he  should 
leave  the  country.  From  1789  to  1794  he  was  engaged  in  painting 
the  portraits  of  those  who  had  become  the  men  of  history,  from  their 
connection  with  the  war  and  with  the  formation  of  the  new  republic. 
He  painted  several  pictures  of  Washington,  some  of  which  are  very 
fine.  He  then  went  to  England  as  secretary  to  Mr.  Jay,  and  was 
engaged  in  diplomatic  life  for  seven  years.  The  pictures  he  painted 
during  this  time  were  unimportant.  In  1817  he  was  commissioned 
by  Congress  to  paint  large  pictures  for  the  Rotunda  of  the  Capitol. 
His  subjects  were  the  "  Declaration  of  Independence,"  the  "  Surren- 
der of  Burgoyne,"  the  "  Surrender  of  Cornwallis,"  and  the  "  Resig- 
nation of  Washington  at  Annapolis."  These  are  well  known  by  en- 
gravings from  them.  He  also  painted  many  historical  pictures,  such 
as  the  "  Death  of  Montgomery,"  the  battles  of  Bunker  Hill,  Trenton, 
and  Princeton,  the  "  Sortie  of  the  Garrison  from  Gibraltar,"  and  many 
portraits  of  eminent  persons.  He  resided  in  New  York  the  last 
twenty-seven  years  of  his  life.  He  was  President  of  the  Acad.  of 
Fine  Arts,  and  but  a  short  time  before  his  death  became  the  Presi- 
dent of  the  Washington  Monument  Association.  The  social  position 
of  Trumbull  was  an  enviable  one.  He  could  number  among  his 
friends  and  acquaintances  many  men  and  women  of  note.  Fox, 
Jefferson,  Mme.  de  Stael,  Talleyrand,  Sheridan,  Sir  Joshua  Rey- 
nolds, Lafayette,  David,  Governor  Hancock,  and  many  others  of  his- 
torical and  literary  reputation  were  well  known  to  him.  Still  he  had 
many  hardships  and  disappointments,  and  was  lonely  in  his  old  age. 
His  original  sketches  and  portraits  which  he  had  made  for  his  Capi- 
tol pictures  were  sold  to  Yale  College  for  a  pension.  Beneath  the 
Gall,  in  which  they  were  arranged  he  built  a  tomb,  where  he  buried 
his  wife  and  where  he  was  laid.  The  following  is  the  inscription 
which  designates  his  resting-place  :  "  Col.  John  Trumbull,  patriot 
and  artist,  friend  and  aide  of  Washington,  died  in  New  York,  Nov. 
10,  1843,  JE.  88.  He  reposes  in  a  sepulchre  built  by  himself  beneath 
this  monumental  gallery,  where,  in  September,  1834,  he  deposited  the 


TRUMBULL  —  TURNER.  581 

remains  of  Sarah,  his  wife,  who  died  in  New  York,  April  24,  JE.  51. 
To  his  country  he  gave  his  pencil  and  his  sword."  His  works  have 
now  been  removed  to  the  new  Art  Gall,  of  Yale  College. 

Tulden,  Theodor  van,  born  at  Bois-le-Duc  (1607  V-1676  ?).  A 
pupil  of  Rubens,  who  assisted  him  very  much  in  forwarding  his  large 
works.  He  was  versatile  in  talent,  and  treated  a  variety  of  subjects. 
He  approached  Rubens  in  color,  and  in  his  earlier  works  had  the 
broad  delineation  of  form  of  that  master;  later  in  life  he  became 
more  refined  and  graceful,  while  his  coloring  was  colder.  His  works 
are  seen  in  many  large  galleries.  His  etchings  are  well  esteemed. 
The  best  are  after  Rubens'  "Battle  of  the  Amazons,"  the  Life 
of  S.  John  of  Matha,  from  his  own  works  in  Paris,  and  scenes  from 
the  Odyssey,  after  Niccolo  dell'  Abbate. 

Turchi,  Alessandro,  called  L'Orbetto  (1582-1648).  The  works 
of  this  painter  are  seen  in  several  churches  in  Rome. 

Turner,  Joseph  Mallord  William,  born  in  London  (1775-1851). 
Son  of  a  hair-dresser.  The  first  assistance  he  received  in  the  study 
of  art  was  from  Girtin,  who  introduced  him  to  Dr.  Munro,  of  the 
Adelphi,  who  allowed  him  to  copy  his  fine  drawings,  and  also  em- 
ployed him  to  sketch  for  him.  He  made  progress  early  in  topo- 
graphical drawing,  and  before  1800,  had  travelled  and  made 
sketches  in  more  than  twenty-six  counties  of  England  and  Wales. 
In  1801  he  became  a  member  of  the  Royal  Academy.  His  first  oil- 
paintings  worthy  of  especial  notice  were  the  "  Tenth  Plague  of 
Egypt,"  and  "  Jason  in  Search  of  the  Golden  Fleece."  Heretofore 
his  originality  had  not  made  itself  apparent,  but  from  this  time  he 
was  individual.  Mr.  Ruskin  has  devoted  so  much  thought  and  time 
to  writing  of  Turner,  that  nothing  is  left  to  be  wished  for  except  a 
biography  of  the  artist.  He  visited  Italy  three  times;  he  never 
married,  and  left  his  pictures  and  fortune  to  the  nation.  For  more 
than  sixty  years,  with  scarcely  an  interruption,  his  works  were  ex- 
hibited at  the  Acad.  When  he  died  it  was  in  humble  lodgings, 
where  he  lived  under  an  assumed  name,  for  the  purpose  of  pursuing 
his  art  uninterruptedly.  His  finished  pictures  in  the  National  Gall, 
amount  to  something  more  than  one  hundred.  The  works  of  the 
middle  portion  of  his  life  are  the  most  satisfactory.  Those  of  his 
later  years  arc  so  full  of  mystery,  that  to  the  ordinary  eye  they  are 
meaningless.  Taine  says  of  the  "  Last  Judgment "  of  Michael 
Angelo,  "  Lorsqu'on  a  trop  longtemps  manie  ses  idees,  on  les  possede 
miciix,  mais  on  en  est  moins  emu;  on  pousse  au  dela  de  la  sensation 
primitive,  la  seule  vraie,  et  1'on  s'exagere  ou  Ton  se  copie."  This 
applies  perfectly  to  the  later  pictures  of  Turner.  Among  his  best 
works  are  the  "  Bay  of  Baiae,"  "  Childe  Harold's  Pilgrimage," 
"Ulysses  deriding  Polyphemus,"  "Caligula's  Palace  and  Bridge," 
and  the  "  Fighting  Temeraire."  Turner  was  buried  in  the  crypt  of 
S.  Paul's  Cath.,  beside  Sir  Joshua  Reynolds;  this  was  in  accordance 
with  his  own  request. 


582  UBERTINI  —  UTRECHT. 


u. 

Ubertini,  Francesco,  called  II  Bachiacca,  born  at  Florence. 
Flourished  about  1530-1557.  A  pupil  of  Perugino.  He  painted 
historical  subjects  on  a  small  scale  with  numerous  figures.  He  also 
worked  in  gold  and  silver. 

Uccello,  Paolo  (1396-1479).  This  interesting  old  painter  gave 
much  thought  and  study  to  perspective,  and  although  we  can  but 
smile  when  we  look  at  his  pictures  and  think  of  this,  still  they  do 
show  a  little  advance  upon  what  had  preceded  him.  His  works  are 
rare;  some  are  in  S.  Maria  Novella  in  Florence;  the  "Battle  of 
S.  Egidio"  is  in  the  National  Gall.,  and  in  the  Louvre  is  a  panel 
with  the  heads  of  Giotto,  Donatello,  Brunelleschi,  Gio.  Manetti, 
and  himself.  He  had  a  passion  for  birds ;  from  this  he  acquired  his 
name  of  Uccello,  his  true  one  being  Paolo  di  Done.  He  was 
brought  up  a  goldsmith,  and  was  a  pupil  of  Ghiberti. 

Udeii,  Lucas  van,  born  at  Antwerp  (1595-1662).  This  painter 
frequently  executed  the  landscapes  in  Rubens'  pictures,  and  also 
painted  some  pictures  in  which  Teniers  painted  the  figures.  He 
was  a  good  artist,  and  some  works  of  his  in  the  Dresden  Gall,  show 
his  best  manner.  He  also  engraved  about  sixty  plates,  a  part  of 
which  are  very  fine.  Some  of  them  are  very  rare;  there  is  one  of 
which  the  British  Mus.  has  the  only  impression. 

Udine,  Martino  da,  called  Pellegrino  di  S.  Daniello  (1480- 
1545?).  Pupil  of  Gio.  Bellini.  He  acquired  a  reputation  equal  to 
that  of  his  master,  who  was  at  that  time  much  esteemed. 

Udine,  Gio,  Nanni  (1494-1564).  He  was  first  a  pupil  of 
Giorgione,  under  whom  he  became  an  excellent  colorist;  later  he 
studied  with  Raphael  and  was  one  of  his  most  valuable  assistants. 
He  executed  animals,  birds,  flowers,  and  ornaments  in  the  loggie 
and  apartments  of  the  Vatican,  which  are  still  objects  of  universal 
admiration.  After  Raphael  died  he  worked  with  Del  Vaga  in  the 
Torre  di  Borgia,  and  executed  many  decorations.  He  fled  during 
the  sack  of  Rome,  and  was  employed  by  the  Medici  at  Florence,  but 
he  returned  to  Rome,  where  he  died,  and  was  buried  in  the  Pantheon 
near  his  beloved  master. 

Uggione.     See  Oggione. 

Ulft,  Jacob  van  der,  born  at  Gorcum  (1627-1688).  An  architec- 
tural painter.  He  had  never  been  in  Rome,  but  many  of  his  pictures 
represented  the  monuments,  piazzas,  and  buildings  of  that  city, 
which  must  have  been  designed  from  engravings.  His  works  are 
rare.  He  combined  good  drawing  and  good  color  with  fine  finish 
and  picturesque  taste  in  design.  His  pictures  are  seen  in  Amster- 
dam, and  at  the  Louvre,  Hague,  and  Berlin  galleries. 

Utrecht,  Adrien  van,  born  at  Antwerp  (1599-1651).     A  painter 


UTRECHT  —  VAGA.  583 

of  animals,  fruit,  flowers,  and  kitchen  pieces.  He  approached  Rem- 
brandt in  detail  and  color,  and  was  skilful  in  arrangement.  His 
treatment  was  masterly. 

V. 

Vadder,  Lodewyck  de.  The  only  works  of  this  landscape 
painter  in  public  galleries  are  at  Munich  and  Brussels.  He  followed 
Rubens  in  his  manner.  Bartsch  attributes  eleven  etchings  to  him; 
they  are  rather  coarse  and  without  much  taste  in  design. 

Vsenius.     See  Veen. 

Vaga,  Pierino  del,  real  name  Pietro  Buonaccorsi,  born  near 
Florence  (1500-1547).  His  parents  were  poor,  and  died  when  he 
was  very  young.  A  Florentine  took  him  to  his  house,  where  many 
artists  were  in  the  habit  of  going,  and  at  an  early  age  Pierino  gave 
proof  of  his  artistic  taste  ;  when  eleven  years  old  he  was  placed 
under  the  care  of  Ridolfo  Ghirlandaio,  where  he  became  a  correct 
draughtsman  and  attracted  the  notice  of  an  artist  who  took  him 
to  Rome  in  1515.  In  that  city  he  became  known  to  Giulio  Romano, 
by  whom  he  was  recommended  to  Raphael.  He  was  a  very  useful 
assistant  to  the  great  master,  and  executed  several  works  after  his 
designs,  in  the  Vatican,  and  after  Raphael's  death  he  assisted 
Romano  and  Francesco  Penni  in  completing  his  unfinished  pictures. 
After  the  sacking  of  Rome  he  went  to  Genoa  and  was  employed  by 
Prince  Doria  to  embellish  his  palace.  These  decorations  gained  him 
much  praise.  His  Madonnas  and  kindred  subjects  are  seen  in 
public  galleries. 

ENGRAVINGS   AFTER   DEL   VAGA. 

Engraver,  BEATRIZET,  Nicolas,  the  Younger.  The  Sacrifice  of 
Iphigenia. 

Engraver,  DESNOYERS,  Louis  Augustin  Boucher.  Les  Muses  et 
les  Pierides. 

MONTAGNANI,  Pietro  Paolo,  published  the  following  plates;  the 
names  of  the  engravers  are  on  the  plates,  and  they  are  from  Del 
Vaga's  paintings  in  the  cupolas  of  the  arcade  of  the  loggie  called 
"Raphael's  Bible." 

Cupola  VIII.,  History  of  Moses.  Finding  of  Moses;  engraved  by 
A.  Mochetti.  Moses  before  the  Burning  Bush.  Passage  of  the 
Red  Sea.  Moses  striking  the  Rock ;  engraved  by  A.  Mochetti. 

Cupola  X.,  History  of  Joshua.  Crossing  the  Jordan;  engraved  by 
Gio.  Petrini.  Fall  of  Jericho.  Joshua's  Victory.  Joshua  dividing 
the  Land;  by  Gio.  Petrini. 

Cupola  XL,  History  of  David.  David  anointed  King;  by  Camillo 
Tinti.  David  conquering  Goliath;  by  Camillo  Tinti.  David's 
triumph  over  the  Syrians;  by  J.  B.  Dasori.  David  and  Bathsheba; 
by  J.  B.  Dasori. 


584  VAGA  —  VANDERLYN. 

Cupola  XIII.,  From  the  New  Testament.  Adoration  of  the 
Shepherds;  by  Giacomo  Bassi.  Adoration  of  the  Kings.  Baptism 
of  Christ.  Last  Supper;  by  Giacomo  Bassi.  (Vasari  says  these 
were  done  by  Del  Vaga;  others  say  they  were  by  Giulio  Romano). 

Engraver,  TINTI,  Camillo.  David  anointed  King.  David  con- 
quering Goliath. 

Valdes,  Don  Juan  de,  born  at  Cordova  (1630-1691).  Of  the 
ancient  family  of  Leal.  After  the  death  of  Murillo  he  was  the  first 
painter  in  Seville.  Many  of  his  pictures  are  in  the  Cath.,  churches, 
and  Mus.  of  Seville.  Lucas  de  Valdes,  his  son,  was  also  a  painter 
of  some  repute,  and  a  successful  engraver. 

Vanderhamen,  Juan  de,  born  at  Madrid  (1596-1632).  Studied 
with  his  father,  and  painted  some  pictures  of  historical  subjects. 
His  best  pictures  were  fruit  and  flower  pieces  and  "  bodegones"  in 
which  he  painted,  with  remarkable  skill,  sweetmeats  and  confections. 
No.  104,  Royal  Gall,  of  Madrid,  is  a  picture  of  this  class. 

Vanderlyn,  John,  born  at  Kingston,  Ulster  County,  New  York 
(1776-1852).  It  seems  when  we  speak  of  this  painter  that  we  ought 
only  to  talk  of  his  two  great  works,  the  "  Marius  "  and  "  Ariadne." 
The  former  took  the  prize  at  the  French  Exhibition  in  1808.  The 
Emperor  Napoleon  himself  selected  it  as  the  work  most  worthy  of 
that  honor,  and  desired  to  have  it  placed  in  the  Louvre,  but  the 
artist  wished  it  to  be  in  his  own  country.  It  was  brought  here  and 
purchased  by  Bishop  Kip.  It  was  painted  in  Rome  in  1807,  when 
Vanderlyn  and  Allston  were  living  side  by  side,  and  were  almost  the 
only  American  art  students  there.  The  "  Ariadne,"  when  exhibited 
in  Boston,  was  offered  to  the  Athaeneum  for  $500.  Mr.  Harrison  of 
Philadelphia  paid  $5000  for  it,  and  it  is  now  in  his  gallery.  Marius 
is  represented  sitting  among  the  ruins  of  Carthage;  it  pictures  the 
grand,  patriotic  Roman  with  great  power;  in  color  it  is  dark  and  se- 
vere. The  Ariadne  is  sleeping,  and  is  a  beautiful  ideal  of  beauty. 
The  good  execution  of  such  diverse  subjects  conveys  the  idea  of  great 
power,  and  promised  much  for  the  artist.  His  other  works  are  occa- 
sional portraits,  some  copies  of  old  pictures,  and  a  few  historical  sub- 
jects. His  last  years  were  spent  in  poverty.  Twi  ^e  he  pawned  the 
Napoleon  medal;  it  was  redeemed  the  last  time  in  Paris  by  Bishop 
Kip,  as  it  had  been  before  in  New  York  by  his  father.  At  length, 
in  the  autumn  of  1852,  he  went  to  his  birthplace,  so  poor  that  he 
begged  a  shilling  with  which  to  transport  his  baggage  to  the  town. 
Upon  reaching  the  hotel  his  only  request  was  for  a  bed,  and  to  be  left 
alone.  And  there  the  next  morning  he  was  found  dead.  He  was 
buried  in  the  ' '  Wiltwyck  cemetery. ' '  No  stone  or  inscription  marks 
the  spot,  and  as  if  to  increase  the  gloom  of  his  history,  the  account  of 
his  life,  which  he  had  related  to  a  friend,  was  burned  while  in  the 
hands  of  a  publisher.  In  a  letter  written  after  the  death  of  Allston, 
he  said,  l'  When  I  look  back  some  five  or  six  and  thirty  years  since, 


VANDERLYN  —  VANDYCK.  585 

when  we  were  both  in  Rome,  and  next  door  neighbors,  on  the  Tri- 
nita  del  Monte,  and  in  the  spring  of  life,  full  of  enthusiasm  for  our  art, 
and  fancying  fair  prospects  awaiting  us  in  after  years,  it  is  painful  to 
reflect  how  far  these  hopes  have  been  from  realization." 

Vandyck,  Sir  Anthony,  born  at  Antwerp,  1599;  died  in  London, 
1641.  After  studying  under  Henry  Van  Balen,  he  entered  the  school 
of  Rubens  in  1615.  He  soon  became  a  favorite  pupil  with  his  master. 
There  was  a  great  demand  for  prints  from  the  designs  of  Rubens.  He 
often  employed  Vandyck  to  make  the  drawings  from  which  the  en- 
gravers worked,  and  as  these  should  be  as  exactly  like  the  original 
picture  as  possible,  such  employment  proves  that  he  esteemed  the 
abilities  of  his  pupil.  Rubens  was  accustomed  to  ride  for  an  hour  or 
two  towards  evening,  at  which  time  his  pupils  were  in  the  habit  of 
teasing  his  servant  to  show  them  what  he  had  been  doing.  On  one 
occasion,  in  their  haste,  when  his  painting  room  was  opened,  they 
jostled  against  the  picture  and  injured  it.  A  consultation  was  held, 
and  it  was  decided  that  Vandyck  should  restore  what  had  been  de- 
faced. He  did  this  with  no  little  hesitation,  but  so  well  that  the 
pupils  hoped  to  escape  detection.  The  keen  eye  of  the  master,  how- 
ever, recognized  the  working  of  another  hand,  and  he  summoned  the 
young  men  for  an  explanation.  When  this  was  given  he  was  so  well 
pleased  that  he  made  no  further  comment.  Descamps  states  that 
this  happened  to  the  celebrated  picture  of  the  "Descent  from  the 
Cross."  Rubens  advised  Vandyck  to  devote  himself  to  portraiture. 
Some  persons  have  accused  the  master  of  jealousy  of  Vandyck's 
genius,  and  have  assigned  this  as  the  cause  for  his  advice.  There  is 
a  letter  from  the  agent  of  the  Earl  of  Arundel,  dated  at  Antwerp, 
1620,  in  which  he  recommends  Vandyck  to  the  employment  of  his 
master.  From  the  order-books  of  the  Exchequer  it  is  now  proved 
that  a  pass  was  given  to  Vandyck,  the  28th  of  February,  1G20,  in 
which  he  was  called  "  his  Majesty's  servant,"  and  permitted  to 
travel  for  eight  months.  He  proceeded  first  to  Flanders,  and  in  the 
village  of  Savelthem,  near  Brussels,  became  enamored  of  a  young 
woman  named  Anna  Van  Ophem.  This  passion  so  far  controlled  him 
that  he  seems  to  have  forgotten  Italy,  and  painted  for  the  parish 
church  (it  is  said  at  her  persuasion)  two  pictures.  One  represented 
8.  Martin  on  horseback  dividing  his  cloak  with  a  beggar,  in  which 
the  saint  was  a  portrait  of  himself,  and  the  horse  was  painted  from 
one  given  him  by  Rubens.  At  one  time  the  parish  authorities  agreed 
to  sell  this  picture  without  the  knowledge  of  the  villagers,  who,  when 
they  heard  of  it,  surrounded  the  church,  armed  with  pitchforks  and 
other  weapons,  and  would  not  allow  it  to  be  removed.  They  mani- 
fested the  same  enthusiasm  for  their  saint  in  1806,  when  it  was  car- 
ried away  by  the  French.  It  remained  in  the  Louvre  till  1815,  when 
it  was  returned  to  its  original  position.  The  other  picture  painted 
at  Savelthem  was  a  Holy  Family,  in  which  he  introduced  the  pur- 


586  VANDYCK. 

traits  of  Anna  and  her  parents.  When  the  knowledge  of  this  stay 
in  Savelthem  came  to  Rubens  he  was  greatly  dissatisfied  with  his 
pupil,  and  attempted  immediately  to  break  the  spell  of  his  infatua- 
tion. Happily  he  was  able  to  do  this,  and  taking  a  hasty  leave  of 
Anna,  Vandyck  proceeded  to  Venice.  His  whole  attention  was 
given  to  the  study  of  Titian  and  Giorgione.  He  went  next  to  Genoa, 
where,  some  years  before,  Rubens  had  met  with  such  success.  The 
remembrance  of  the  master  predisposed  the  Genoese  in  favor  of  the 
pupil.  His  elegance  and  refinement  of  manner,  added  to  his  powers 
as  a  portrait  painter,  quickly  obtained  for  him  all  the  patronage  he 
desired.  Many  of  the  portraits  he  then  painted  still  remain  in  the 
palaces  of  Genoa.  From  there  he  went  to  Rome.  He  was  received 
as  a  guest  by  Card.  Bentivoglio,  who  had  acquired  a  fondness  for  the 
Flemings  when  Nuncio  in  Flanders.  He  commissioned  Vandyck  to 
paint  a  "  Crucifixion,"  and  a  full-length  portrait  of  himself.  The 
latter  is  now  in  the  Pitti  Pal.  Soprani  says  that  he  remained  two 
years  in  Rome.  His  leaving  it  has  been  ascribed  to  the  manner  in 
which  the  Flemish  artists  there  disparaged  him.  On  his  arrival  he 
had  found  that,  as  a  class,  they  were  intemperate  and  uncongenial  to 
himself;  and  he  ceased  to  attend  their  meetings.  They  were  an- 
noyed at  this,  and  made  him  so  uncomfortable  that  he  returned  to 
Genoa.  At  Genoa  he  frequented  the  house  of  Sofonisba  Angosciola, 
a  celebrated  artist,  and  he  was  accustomed  to  say  that  he  had  learned 
more  of  the  principles  of  art  from  this  woman,  who  had  become  blind, 
than  from  the  works  of  the  most  celebrated  painters.  He  was  in- 
vited to  Palermo,  where  his  stay  was  short,  for,  the  plague  breaking 
out,  he  was  obliged  to  flee.  In  travelling,  he  met  the  Countess  of 
Arundel  and  her  two  sons,  and  accompanied  them  to  Turin.  He 
went  also  to  Florence  and  other  Italian  cities,  but  spent  most  of  his 
time  in  Genoa,  until,  at  the  end  of  1626,  he  returned  to  Antwerp. 
The  story  of  his  successes  in  Italy  had  reached  his  native  city.  He 
was  not  allowed  to  remain  idle.  His  first  large  work  was  an  altar- 
piece  for  the  ch.  of  the  Augustines.  The  original  effect  of  this  pic- 
ture cannot  be  understood  from  its  present  state.  It  represents  S. 
Augustine  in  ecstasy,  and  Vandyck  painted  him  in  light  vestments. 
The  brotherhood  insisted  that  these  should  be  changed  to  black, 
which  spoiled  its  arrangement  of  light,  and  its  whole  appearance. 
He  then  received  a  commission  from  the  canons  of  the  collegiate  ch. 
of  Courtray  for  a  large  altar-piece  representing  the  "  Raising  of  the 
Cross."  When  he  carried  it  to  them  they  insisted  upon  seeing  it 
before  it  was  put  in  its  place,  and  declared  that  it  was  altogether 
wanting  in  dignity,  and,  calling  him  a  "  dauber,"  they  left  him.  He 
returned  to  Antwerp  and  said  nothing  of  this.  Soon  persons  of  good 
judgment  and  taste  went  to  see  the  picture,  and  declared  it  a  won- 
derful work  for  so  young  a  man.  After  a  time  the  canons  became 
convinced  of  their  mistake,  and  decided  to  employ  Vandyck  to  paint 


VANDYCK. 


587 


two  other  pictures  for  their  church,  hoping  thus  to  make  amends  for 
their  past  insolence ;  but  Vandyck  replied  to  their  communication  by- 
saying  there  were  already  ' '  daubers ' '  enough  in  Courtray  without 
summoning  those  of  Antwerp.  He  remained  in  Flanders  and  Hol- 
land for  five  years,  and  was  constantly  occupied.  In  the  latter 
country  he  painted  portraits  of  the  royal  family,  and  many  persons 
of  rank  and  consequence.  On  one  occasion,  when  at  Haarlem,  he 
called  on  Frank  Hals,  who  was,  as  usual,  at  a  tavern.  He  sent  word 
to  him  that  a  stranger  wished  his  portrait  painted,  and  when  Hals 


THE  CHILDREN  OF    CHARLES  I, 

Dresden  Gall. 


BY   VANDYCK. 


appeared,  told  him  he  could  have  but  two  hours  for  his  work.  The 
picture  was  finished  and  shown  to  Vandyck.  He  expressed  his  ap- 
proval ami,  saying  (hat  portrait  painting  seemed  a  very  simple  thing, 
he  asked  Hals  to  eliangi;  plaees  with  him.  It  was  soon  evident  that 
this  was  not  his  first  acquaintance  with  palette  and  brush,  and  he 
showed  his  work  to  Hals  who  ardently  embraced  him,  crying  out, 
"  You  are  Vandyck;  no  person  but  he  can  do  what  you  have  now 
done.''  In  Hi-'i-J  Vandyck  went  to  England  and  was  well  received 
by  the  King,  and  appointed  principal  painter  in  ordinary  to  their 
Majesties.  His  eourtlv  elegance  of  person  and  refiuuiuciit.of  address 


588  VANDYCK. 

soon  won  the  favor  of  the  monarch,  who  often  visited  his  studio  and 
passed  hours  in  familiar  conversation  with  him.  He  immediately 
painted  a  large  picture  of  the  King  and  Queen,  the  Prince  of  Wales, 
and  the  Princess  Mary ;  and  in  three  months  after  his  arrival  in  Eng- 
land, the  King  conferred  on  him  the  honor  of  knighthood.  He  gave 
Vandyck  constant  employment,  and  in  1633  settled  on  him  a  pension 
of  £200  yearly.  There  are  four  portraits  of  Lady  Digby,  painted 
about  this  time,  as  she  died  in  1633.  One  of  these  represents  her 
lying  dead  in  her  bed,  with  a  faded  rose  beside  her,  and  is  extremely 
beautiful.  Even  while  in  Rome  Vandyck  had  been  so  ostentatious 
in  his  dress  and  equipage  that  he  was  called  II  pittore  Cavalieresco  ; 
and  now  that  fortune  smiled  upon  him,  he  indulged  in  magnificent 
living.  He  entertained  his  sitters  with  dinners  in  order  to  study 
their  expression.  He  was  liberal  to  men  of  talent,  especially  musi- 
cians, and  his  house,  often  visited  by  the  King,  became  the  resort  of 
men  of  rank  and  talent;  in  fact,  a  visit  to  his  studio  became  indis- 
pensable in  the  day's  programme  of  the  fashionables  of  that  time.  He 
was  given  to  gallantry,  and  lavish  in  his  expenditures  for  his  favor- 
ites. A  portrait  which  he  painted  of  Margaret  Lemon,  a  woman  of 
much  notoriety,  has  been  often  engraved.  On  one  occasion  the  King 
was  sitting  to  him,  when  the  Lord  Steward  came  to  speak  on  the 
subject  of  finance.  Charles  said  to  Vandyck,  "  And  you,  Sir  Knight, 
know  you  what  it  is  to  want  three  or  four  thousand  pounds  ?  "  "  Yes, 
sire,"  replied  the  painter ;  "  he  who  keeps  his  house  open  for  his 
friends,  and  his  purse  for  his  mistresses,  will  soon  find  a  vacuum  in  his 
coffers."  It  has  been  said  that  in  order  to  increase  his  fortune  he 
prosecuted  a  chemical  search  for  the  philosopher's  stone,  and  thus 
greatly  injured  his  health.  The  King  and  his  other  friends  were 
much  troubled  at  his  mode  of  life;  and  hoping  that  marriage  would 
lead  him  to  adopt  more  temperate  habits  they  planned  and  promoted 
an  alliance  with  Maria  Ruthven,  daughter  of  Lord  Gowrie.  Van- 
dyck was  constantly  employed  in  portrait  painting,  and  occasionally 
executed  pictures  of  other  subjects,  both  religious  and  mythological. 
But  he  greatly  desired  to  exercise  his  talent  in  something  which 
should  establish  his  fame  upon  a  higher  scale  than  he  had  yet  reached. 
The  rich  pictures  by  Rubens  upon  the  ceiling  of  the  banquetting-hall 
at  Whitehall,  necessitated  similar  decorations  for  the  walls.  Van- 
dyck proposed  to  make  a  series  of  pictures  illustrating  the  history  of 
the  Order  of  the  Garter.  The  King  was  much  pleased  with  the  idea, 
and  desired  sketches  to  be  made.  But  unfortunately  the  work  was 
never  done.  Many  things  at  this  time  rendered  his  situation  painful, 
and  in  1640  he  made  a  journey  to  Flanders.  While  there  he  heard 
that  the  King  of  France  desired  to  adorn  the  Gall,  of  the  Louvre 
with  paintings.  He  proceeded  to  Paris,  hoping  to  be  employed,  but 
Nicholas  Poussin  had  been  summoned  from  Rome,  and  Vandyck  was 
again  disappointed.  He  returned  to  England,  and  in  1641  witnessed 


VANDYCK.  589 

the  dispersion  of  the  royal  family,  which  he  knew  and  loved  so  well. 
The  following  May  the  Earl  of  Strafford  was  executed.  All  these 
things,  added  to  bodily  ailments,  so  prostrated  Vandyck  that  when 
the  King  returned  from  Scotland  he  was  greatly  alarmed,  and  told 
his  physician  he  would  give  him  £300  if  he  succeeded  in  preserving 
the  artist's  life.  All  efforts  were  in  vain,  and  he  died  on  the  9th 
of  December,  1641,  at  his  home  in  Blackfriar's.  He  was  buried  in 
the  Cath.  of  S.  Paul's,  near  the  tomb  of  John  of  Gaunt.  He  left  one 
daughter  by  his  wife,  named  Justiniana,  and  a  natural  daughter, 
Maria  Theresa,  for  whom  he  provided  in  his  will,  giving  her  to  the 
care  of  his  sister  Susanna,  a  nun  in  Antwerp.  The  works  of  Van- 
dyck are  too  well  known  to  require  praise,  but  a  great  difference 
exists  in  their  coloring.  Those  which  he  painted  in  Italy,  and  soon 
after  his  return,  are  rich  and  mellow,  and  in  a  style  which  Reynolds 
observes  "  supposes  the  sun  in  the  room."  This  may  be  called  his 
first  manner.  His  English  pictures  have  a  more  silvery  color;  they 
are  brilliant  and  delicate,  and  at  the  same  time  solid  and  firm  in  then* 
painting.  These  are  in  his  second  manner.  His  latest  pictures  show 
that  but  little  labor  was  bestowed  on  them,  and  are  slight  and  meagre 
in  execution.  As  a  portrait  painter  Vandyck  stands  beside  Titian,  in 
the  first  place.  As  a  painter  of  historical  subjects  he  is  also  masterly. 
His  drawing  was  more  correct,  his  feeling  for  nature  more  refined, 
and  his  expression  of  profound  emotion  more  elevated  than  that  of 
llnl  tens.  The  latter  excelled  in  power  to  depict  terrible  and  momen- 
tary incidents,  but,  all  in  all,  they  may  very  fairly  be  placed  on  the 
same  level.  The  works  of  Vandyck  are  numerous,  and  found  in 
nearly  all  large  or  good  collections.  He  left  a  collection  of  small 
pictures  in  brown  diiaro-scnro,  a  part  of  which  are  in  the  Munich 
Gall.  There  arc  also  etchings  by  him,  executed  with  a  spirit  and 
energy  seldom  surpassed.  They  will  be  found  in  the  following  list. 

ENGRAVINGS   AFTER    THE   WORKS   OF    VANDYCK. 

Engraver,  ARDELL,  James  Me.  Rubens'  Wife;  fine.  Rachel, 
Countess  of  Southampton ;  very  fine.  Lord  John  and  Lord  Bernard 
Stuart;  very  fine.  The  Virgin  and  Infant  Jesus.  Moses  found  by 
Pharaoh's  Daughter;  very  fine.  Time  clipping  the  Wings  of  Love; 
very  fine. 

Engraver,  AUBERT,  Michel.  Portrait  of  Charles  Emanuel,  Duke 
of  Savoy. 

Engraver,  AUDRAN,  John.  Portrait  of  Rubens.  The  Elevation 
of  the  Cross.  The  Crucifixion. 

Engraver,  BAILLU,  .  The  Crucifixion.  The  Virgin  in  the 

Clouds.  Rinaldo  and  Armida. 

En </raver,  BARON,  Bernard.  Charles  I.  on  Horseback,  with  the 
Duke  d'Epernon;  1741.  Charles  I.,  his  Queen,  and  two  Children. 
The  Nassau  Family;  after  Earl  Cowper's  picture.  The  Pembroke 


590  VANDYCK. 

Family;  after  the  picture  at  Wilton.  Family  of  Vandyck;  after  the 
Earl  of  Pembroke's  picture.  Robert,  Earl  of  Caernarvon.  Anna 
Sophia,  Countess  of  Caernarvon. 

Engraver,  BEAUVAIS,  Nicholas  Dauphin  de.     S.  Jerome. 

Engraver,  BLECK  or  BLEECK,  Peter  Van.  Portrait  of  Francis 
Du  Quesnoy,  called  Fiammingo,  sculptor;  A.  Vandyck,  pinx. ;  P.  V. 
B.I.,f.;  1751. 

Engraver,  BLOND  or  BLON,  James  Christopher  le.  S.  John  em- 
bracing the  Infant  Jesus. 

Engraver,  BLOOTELING,  Abraham.  Portrait  of  the  Marquis  de 
Mirabelle. 

Engraver,  BOLSWERT  or  BOLSUERD,  Scheltius  A.  Scheltius  A. 
Bolswert ;  A  d.  Lommelin,  sc.  Andrew  Van  Ertwett,  painter,  of  Ant- 
werp. Martin  Pepin,  painter.  Adrian  Brower,  painter.  John 
Baptist  Barbe,  engraver.  Justus  Lipsius,  historian.  Albert,  Prince 
of  Aremberg.  Maria  Ruthven,  wife  of  Vandyck.  Margaret  of 
Lorraine,  Duchess  of  Orleans.  William  de  Vos,  painter.  Sebastian 
Vranck,  painter.  Maria  Mater  Dei.  The  Holy  Family,  with  an 
Angel  holding  a  Crown.  The  Virgin  with  the  Child  on  her  Knee, 
and  a  Female  Saint  holding  a  Palm.  The  Holy  Family,  with  the 
Child  asleep  in  the  Arms  of  the  Virgin.  The  Holy  Family  in  a 
Landscape,  with  several  Angels.  Christ  crowned  with  Thorns ;  very 
fine.  The  Elevation  of  the  Cross.  The  Crucifixion ;  a  grand  com- 
position, with  two  men  on  horseback,  and  a  figure  presenting  the 
sponge  to  Christ ;  on  the  other  side,  the  Virgin  Mary  and  S.  John 
standing,  and  Mary  Magdalene  kneeling  and  embracing  the  Cross; 
one  of  the  finest  works  of  Bolswert. 

Engraver,  BORREKENS,  Matthew.  The  Crucifixion,  with  the 
Virgin,  the  Magdalene,  and  S.  John;  Ant.  Vandyck,  pinx.;  Eras. 
Quellinus,  del. 

Engraver,  BRUGGEN,  John  Vander.  Portrait  of  A.  Vandyck ;  se 
ipse  pinx. 

Engraver,  BURGHERS,  Michael.  William  Sommer,  the  antiquary. 
Franciscus  Junius. 

Engraver,  CARMONA,  Emanuel  Salvador.  The  Virgin  and  In- 
fant. 

Engraver,  CAUKERKEN,  Cornelius  Van.  The  Dead  Christ,  with 
the  Virgin,  Magdalene,  and  S.  John.  The  Descent  of  the  Holy 
Ghost.  Charity,  with  three  Children. 

Engraver,  CAYLUS,  Anne  Claude  Philippe,  Comte  de.  A  set  of 
thirty  heads ;  after  Rubens  and  Vandyck ;  from  the  Crozat  Coll. 

Engraver,  CHAMBERS,  Thomas.     Helen  Forman. 

Engraver,  CLOUET,  Peter.  Christopher  Van  der  Laenen.  The- 
odore Rogiers,  goldsmith.  Charles  Scribbanius,  a  celebrated  Jesuit. 
Anne  Wake,  Countess  of  Sussex,  holding  a  Fan  of  Feathers.  Henry 
Rich,  Eurl  of  Holland.  . 


VANDYCK.  591 

Engraver,  DAVID,  Francis  Anne.     Family  of  Charles  I. 

Engraver,  DAVIS,  Edward  Le.     S.  Cecilia,  with  Angels. 

Engraver,  DELFT  or  DELPHJUS,  William  James.  Michael  Mirevelt, 
painter. 

Engraver,  DOES,  Anthony  Vander.     The  Magdalene. 

Engraver,  EARLOM,  Richard.  James  Stuart,  Earl  of  Richmond. 
The  Duke  of  Aremberg,  on  horseback. 

Engraver,  FAITHORNE,  William,  the  Elder.  Sir  William  Paston, 
Bart.;  1659;  extremely  fine.  Lady  Paston;  1659;  also  very  fine. 
Margaret  Smith,  afterwards  Lady  Herbert.  Montague  Bertie,  Earl 
of  Lindsey.  Anne  Bridges,  Countess  of  Exeter.  A  Dead  Christ. 

Engraver,  FERDINAND,  Louis.     Portrait  of  a  Lady. 

Engraver,  GALLE,  Cornelius,  the  Elder.     Artus  Wolfart,  painter. 

Engraver,  GALLE,  Cornelius,  the  Younger.  Emperor  Ferdinand 
III.;  1649.  Mary  of  Austria,  his  Empress;  1649.  Henrietta  of 
Lorraine.  John  Meyssens,  painter  and  engraver. 

Engraver,  GREEN,  Valentine.  Sir  Thomas  Wharton.  Henry, 
Earl  of  Danby.  George,  Marquis  of  Huntley.  Time  clipping  the 
Wings  of  Love. 

Engraver,  GROENSVELT,  John.  Dorothy,  Countess  of  Sunder- 
land. 

Engraver,  HOLLAR,  Wenceslaus.  Philip  Herbert,  Earl  of  Pem- 
broke. Thomas  Wentworth,  Earl  of  Strafford.  Althea  Talbot, 
Countess  of  Arundel.  Teresia,  Lady  Shirley;  very  scarce.  Mary 
Villiers,  Duchess  of  Richmond  and  Lennox.  Mary  Stuart,  Countess 
of  Portland.  Archbishop  Laud.  P.  P.  Rubens.  Sir  Anthony  Van- 
dyck.  Inigo  Jones,  architect.  Jerome  Weston,  Earl  of  Portland. 

Engraver,  JODE,  Peter,  the  Younger.  S.  Augustine,  supported  by 
Angels.  Rinaldo  and  Armida. 

Engraver,  JODE,  Arnold  de.  Magdalene,  half-length ;  circular. 
The  Infant  Christ  embracing  S.John;  inscribed,  Arnoldus  de  Jode, 
sculp.  Londini,  tempore  incendii  maximi. 

Engraver,  LAUWERS,  Nicholas.     Fran.  Lelio  Blancatio. 

Engraver,  LAURIE,  Robert.     The  Crucifixion. 

Engraver,  LOMBARD  or  LOMBART,  Peter.  A  set  of  twelve  plates, 
half-length;  two  of  the  Earl  of  Arundel  and  Earl  of  Pembroke,  and 
ini  ladies,  called  "  The  Countesses."  Charles  I.  on  horseback;  after 
his  death  the  head  of  Cromwell  was  substituted  for  that  of  the  King. 

Engraver,  LOMMELIN,  Adrian.  Charles  I.  Ferdinand  of  Austria. 
Jacob  le  Roi,  Seigneur  of  Herbaix.  J.  C.  de  la  Faille,  Jesuit.  Alex, 
de  la  Faille,  Senator  of  Antwerp.  Zegher  Van  Hontsum,  Canon  of 
Antwerp.  Adrian  Stephens,  ecclesiastic.  J.  Malderus,  Bishop  of 
Antwerp.  John  de  Wael,  painter,  of  Antwerp.  John  Baptist  de 
Bisthoven,  Jesuit;  one  of  the  best  plates.  Christ  taken  in  the  Gar- 
den. 

Engraver,  LOUYS  or  LOYS,  John.  Francis  Thomas  of  Savoy, 
Prince  of  Carignan. 


592  VANDYCK. 

Engraver,  MANNL  or  MAENNL,  Jacob.  The  Virgin  with  the  Child 
caressing  S.  John.  Samson  delivered  to  the  Philistines. 

Engraver,  MASSARD,  John.     Family  of  Charles  I. 

Engraver,  MATHAM,  Theodore.  Michael  le  Blon,  Agent  to  the 
Crown  of  Sweden. 

Engraver,  MORGHEN,  Raphael.  Francesco  Moncado,  Duke  of 
Ossono,  on  horseback. 

Engraver,  MORIN,  John.  Guido,  Card,  de  Bentivoglio.  The 
Countess  de  Bossu.  Margaret  Lemon.  Charles  de  Mallery,  en- 
graver and  print-seller. 

Engraver,  NATALIS,  Michael.     Ernestine,  Princess  de  Ligne. 

Engraver,  NEEF  or  NEEFS,  Jacob.  Francis  Snyders,  painter. 
Anthony  de  Tassis,  Canon  of  Antwerp.  The  Marchioness  of  Barle- 
mont,  Countess  d'Egmont.  Josse  de  Hertoghe.  Martin  Ryckart, 
painter. 

Engraver,  PAUL  or  DE  PAULIS,  Andrew.  Titian  and  his  Mis- 
tress; after  the  etching  by  Vandyck. 

Engraver,  PAYNE,  John.     Ferdinand  of  Austria. 

Engraver,  PAZZI,  Pietro  Antonio.     The  Virgin  and  Child. 

Engraver,  PESNE,  John.     Francis  Langlois. 

Engraver,  Pic  ART,  Bernard.     Charles!.;  1724. 

Engraver,  PICCHIANTI,  Gio.  Domenico.     Card.  Bentivoglio. 

Engraver,  PLACE,  Francis.     Portrait  of  Charles  I. 

Engraver,  PONTIUS,  Paul.  Paul  du  Pont  or  Pontius.  Peter  Paul 
Rubens.  James  de  Breuck,  architect.  John  Wildens,  painter,  of 
Antwerp.  John  Van  Ravesteyn,  painter  at  the  Hague.  Palemedes 
Palamdessen,  painter.  Theodore  Van  Loo,  painter,  of  Louvain. 
Theodore  Rombouts,  painter,  of  Antwerp.  Cornelius  Van  der 
Gheest,  celebrated  connoisseur.  Gerard  Honthorst,  painter  at  the 
Hague.  Henry  Van  Balen,  painter,  of  Antwerp.  Adrian  Stalbent, 
painter,  of  Antwerp.  Daniel  My  tens,  painter,  of  Holland.  Gerard 
Seghers,  painter,  of  Antwerp.  Simon  de  Vos,  painter,  of  Antwerp. 
Gaspar  de  Craeyer,  painter,  of  Ghent.  Henry  Steenwyck,  painter, 
of  Antwerp.  Gaspar  Gevartius,  counsellor,  of  Antwerp.  Nicholas 
Rockox,  magistrate  of  Antwerp.  John  Vanden  Wonwer,  counsellor 
of  state.  Caesar  Alexander  Scaglia,  Abbot  of  Stophard.  Gustavus 
Adolphus,  King  of  Sweden.  Mary  de'  Medici,  Queen  of  France. 
Francis  Thomas  of  Savoy,  Prince  of  Carignan.  John,  Count  of 
Nassau.  Don  Alvarez,  Marquis  of  Santa  Cruz.  Don  Carlos  de 
Colonna,  Spanish  general.  Don  Diego  Philip  de  Gusman,  Marquis 
de  Leganez.  Mary,  Princess  of  Aremberg.  Henry,  Count  de 
Berghe,  in  armor.  Sir  Balthasar  Gerbier,  Ambassador  from  Spain. 
Frederic  Henry,  Prince  of  Orange. 

Engraver,  PRESTEL,  John  Gotlieb.     A  PietA. 

Engraver,  RIEDEL,  John  Anthony.  Portrait  of  a  Lady  holding  a 
Letter. 


VANDYCK.  593 

Engraver,  SAILLIAR,  Louis.     Portrait  of  Helen  Forman. 

Engraver,  SCHIAVONETTI,  Luigi.    Mater  Dolorosa.     Dead  Christ. 

Engraver,  SCHMIDT,  George  Frederic.  Virgin  and  Child  with  S. 
John. 

Engraver,  SHARP,  William.  Charles  I.;  three  faces.  Earl  of 
Arran. 

Engraver,  SIMON,  John.     Charles  I. 

Engraver,  SOMPEL  or  SOMPELEN,  Peter  Van.  Card.  Ferdinand, 
brother  to  Philip  IV.  Isabella  Clara  Eugenia,  Infanta  of  Spain. 
Gaston,  Duke  of  Orleans,  brother  to  Louis  XVI.  Margaret,  his  con- 
sort. 

Engraver,  STRANGE,  Sir  Robert.  Charles  I.;  whole  length;  1770. 
Charles  I.,  with  a  Page,  and  his  Equerry  holding  his  Horse;  1782. 
Henrietta  Maria,  Queen  of  Charles  I.,  with  the  Prince  of  Wales  and 
Duke  of  York;  1784.  The  Children  of  Charles  I.;  1758.  The  In- 
fant Jesus,  asleep;  1787  (?)  Half-length  of  Charles  L;  engraved  in 
the  first  edition  of  Smollett's  "  History  of  England,"  in  quarto;  1757. 
James  Graham,  Marquis  of  Montrose.  Thomas  Wentworth,  Earl  of 
Strafford. 

Engraver,  SUYDERHOEF,  Jonas.  Charles  I.  Henrietta  Maria. 
Francis  de  Moncade.  Count  d'Ossonne. 

Engraver,  TARDIEU,  Peter  Alexander.     The  Earl  of  Arundel. 

Vandyck*s  own  Plates. 

Christ  crowned  with  Thorns;  A.  Vandyck,  inv. 
A  Holy  Family. 
A  Bust  of  Seneca,  and  others. 

Adam  Van  Oort,  painter;  Ant.  Vandyck,  fecit  aquaforti. 
Justus  Suttermans,  painter  of  Antwerp. 
Peter  Breughel,  painter. 
Lucas  Vorstermans,  engraver. 
Judocus  de  Momper,  painter. 
Paul  du  Pout  or  Pontius,  engraver. 
John  Breughel,  painter. 
Francis  Frank,  painter. 
Jon  de  Wael,  painter. 
John  Snellinx,  painter. 

Titian,  with  his  Mistress,  leaning  on  a  Casket  with  a  Skull;  Ti- 
tiano,pinx.,  A.  Vandyck,  fee. 
Anthony  Cornelissen,  amateur. 
Erasmus  Rotterdamus. 
Anthony  Vandyck. 
Philip  le  Roi,  Eques. 
Francis  Snydcrs,  painter. 
Anthony  Tries t,  Bishop  of  Ghent. 
William  de  Vos,  painter. 


594  VANDYCK  —  VARGAS- 

Paul  de  Vos,  painter. 

John  Waverius  or  Van  den  Wouwer. 

Engraver,  VISSCHER,  John.     Peter  Paul  Rubens. 

Engraver,  VOERST,  Robert  Van  der.  Philip,  Earl  of  Pembroke. 
Ernest,  Count  Mansfeld.  Simon  Vouet,  painter.  Sir  Kenelm  Digby. 
Inigo  Jones.  Christian,  Duke  of  Brunswick.  Sir  George  Carew. 

Engraver,  VORSTERMAN,  Lucas  the  Elder.  Charles  I.  Thomas 
Howard,  Earl  of  Arundel.  Isabella  Clara  Eugenia,  Infanta  of 
Spain.  Gaston,  Duke  of  Orleans.  Ambrose  Spinola,  Governor  of 
the  Lower  Countries.  Wolfgang  William,  Duke  of  Bavaria.  Fran- 
cis de  Moncade,  Count  of  Ossone.  Nicholas  Rockox,  magistrate  of 
Antwerp.  Anthony  Vandyck,  painter.  Peter  de  Jode,  the  Eldfcj 
engraver.  Charles  de  Mallerie,  engraver.  James  Callot,  engraver. 
Theodore  Galle,  engraver.  Wenceslaus  Koeberger,  painter.  Deo- 
datus  Delmont,  painter.  Peter  Steevens,  amateur,  of  Antwerp. 
John  Van  Mildert,  sculptor.  Hubert  Van  den  Enden,  painter.  Lu- 
cas Van  Uden,  painter.  Cornelius  Sachtleven,  painter.  Orazio 
Gentileschi,  painter.  John  Lievens,  painter  and  engraver.  A  Pieta, 
with  Angels  weeping. 

Engraver,  WILLIAMS,  Robert.  Charles  I.  Edward,  Lord  Little- 
ton, Lord  Keeper. 

Engraver,  WOOLLETT,  William.     Peter  Paul  Rubens. 

Engraver,  WYNGAERDE,  Francis  Van  den.  A  Dead  Christ, 
supported  by  the  Maries.  Achilles  discovered  among  the  Daughters 
of  Lycomedes. 

Vandyck,  Philip,  born  at  Amsterdam  (1680-1752).  The 
historical  pictures  by  this  artist  are  far  from  good.  His  best  works 
are  genre  subjects.  Most  large  Continental  galleries  have  his 
pictures. 

Vanloo,  Charles  Andre",  called  Carlo.  Born  at  Nice  (1 705-1 765). 
This  painter  was  the  most  eminent  of  a  family  of  artists.  His 
principal  works  are  in  the  ch.  of  the  Augustines  in  Paris.  A 
"  Marriage  of  the  Virgin  "  in  the  Louvre  is  worthy  of  note.  His 
studies  in  Italy  helped  him  to  rise  above  the  artists  of  his  country  in 
his  day. 

Vanucchi.     See  Sarto. 

Vannucci.     See  Perugino. 

Varela,  Francisco,  born  at  Seville;  died  1656.  Next  to  Zur- 
baran  he  was  the  best  scholar  of  Roelas.  Many  of  his  works  are  in 
the  churches  and  convents  of  Seville,  and  in  the  private  collections 
of  that  city.  In  the  ch.  of  S.  Bernardo,  beyond  the  walls,  is  his 
"  Last  Supper,"  painted  in  1622.  It  is  one  of  his  best  picture^ 
and  the  figure  of  Judas  clutching  the  bag,  with  a  face  full  of 
treachery  and  terror,  is  very  effective. 

Vargas,  Luis  de,  born  at  Seville  (1502-1568).     He  studied  for  a 


VAEGAS  —  VASARI.  595 

time  in  his  native  city,  and,  like  most  Sevillian  painters,  painted  on 
sarya.  He  went  to  Italy,  and,  it  is  said,  remained  twenty-eight 
years.  His  master  is  not  known,  but  his  style  has  induced  the  belief 
that  he  studied  under  Pierino  del  Vaga.  Stirling  says,  u  As  a 
painter,  Vargas  is  remarkable  for  the  grandeur  and  simplicity  of  his 
designs,  and  for  the  purity  and  grace  of  his  female  heads;  for 
correctness  of  drawing  and  agreeable  freshness  of  color."  His  easel 
pictures  are  few,  and  his  frescoes,  to  which  he  undoubtedly  owed 
his  greatest  fame,  are  now  so  defaced  as  to  afford  small  opportunity 
for  forming  a  judgment  of  their  merits.  He  was  a  very  religious 
man,  and  in  his  chamber  were  found,  after  his  death,  scourges  and 
instruments  of  penance,  and  a  coffin  in  which  he  was  accustomed 
to  lie  down,  and  meditate  upon  death  and  the  future.  But  with  all 
his  seriousness  he  was  a  witty  man.  A  brother  artist  once  asked 
his  opinion  of  a  poor  picture  of  "  Christ  on  the  Cross."  "  He 
looks,"  said  Vargas,  "as  if  he  were  saying,  'Forgive  them,  Lord, 
for  they  know  not  what  they  do.'  "  In  Seville  he  was  considered  a 
great  artist  and  a  good  man.  Among  his  remaining  works  is  a 
portrait  of  the  "Apostle  of  Seville,"  which  hangs  in  the  sacristy 
of  chalices  in  the  Cath.  This  holy  man  was  a  brother  of  the  Order 
of  Mercy,  named  Fernando  de  Contreras.  In  the  Cath.  also,  a 
"  Nativity,"  in  the  chapel  dedicated  to  that  event,  and  in  the  chapel 
of  the  Conception  a  picture  of  the  "  Temporal  Generation  of  Our 
Lord."  This  is  considered  his  finest  work  now  in  Seville.  Adam 
kneels  in  the  foreground,  and  one  of  his  legs  is  so  well  painted  that 
from  it  the  picture  has  been  called  "La  Gamba."  This  same 
chapel  has  several  other  pictures  by  this  master,  but  it  is  so  dark 
that  they  can  be  seen  well  only  on  days  when  it  is  lighted  with 
tapers.  His  frescoes  which  were  on  the  outer  walls,  and  on  the 
tower,  are  almost  obliterated.  There  was  a  full-length  of  John  the 
Baptist,  in  the  Coll.  of  Lord  Francis  Egerton  in  London,  which  was 
attributed  to  Vargas,  but  a  duplicate  of  it  in  the  Gall,  of  the  King 
of  Bavaria  was  ascribed  to  Giulio  Romano. 

Varotari,  Alessandro,  called  II  Padovanino  (1590-1650).  Hia 
principal  work  is  the  "  Marriage  in  Cana  "  in  the  Acad.  of  Venice; 
another  fine  work  is  the  picture  of  a  u  Saint  in  Deacon's  Orders," 
taken  in  a  moment  of  ecstasy.  He  seems  to  have  formed  his  style 
by  the  study  of  Titian's  works. 

Vasari,  Giorgio,  born  at  Arezzo  (1512-1574).  This  artist  is 
best  known  to  us  by  his  "  Vite  de'  piii  eccellenti  Pittori,  Scultori,  ed 
Architotti,"  published  in  1550  and  revised  in  1568.  It  is  the  first 
comprehensive  work  of  its  kind,  and  is  written  in  a  very  attractive 
style ;  it  is  not  always  correct  as  regards  chronology,  and  must  be 
criticised  with  care  before  it  is  taken  for  authority,  but  this  is  not 
strange  when  we  remember  that  it  was  chiefly  compiled  from  verbal 
accounts.  And  then,  what  would  all  other  writers  upon  kindred 


596  VASARI  —  VELASQUEZ. 

subjects  have  done  without  the  opportunity  to  quote  and  contradict 
Vasari  !  His  paintings  are  in  Rome,  Naples,  Arezzo,  -and  Florence. 
He  was  rapid  in  execution  and  matter-of-fact  in  spirit;  his  best 
works  were  portraits.  That  of  Lorenzo  de'  Medici  in  the  Uffizi 
is  excellent  and  well  known ;  that  of  Cosimo  I.  was  often  re- 
peated, and  is  in  several  galleries.  Vasari's  talents  were  varied,  for 
he  was  also  an  architect  and  superintended  the  erection  and  deco- 
ration of  several  buildings. 

Vasquez,  Alonso,  born  at  Ronda.  Studied  with  Luis  de  Vargas. 
A  few  of  his  pictures,  which  are  very  imperfect,  are  in  the  Mus.  of 
Seville.  They  illustrate  the  story  of  S.  Raymond.  Vasquez  was 
one  of  the  artists  chosen  to '  paint  the  catafalque  used  at  the  burial 
of  Philip  II.  in  1598. 

Vecelli.  This  was  the  family  name  of  the  great  Titian,  and 
several  of  his  relatives  were  painters  and  imitators  of  his  style. 
Their  works  are  occasionally  seen  in  churches  and  galleries. 

Vecchia,  Pietro  (1605-1678).  Real  name  was  Mattoni,  called 
Vecchia  from  his  skill  in  imitating  the  old  masters.  Some  of  his 
imitations  of  Giorgione  have  undoubtedly  been  considered  as 
originals. 

Veen,  Martin  van.     See  Hemskerk. 

Veen,  Othon  van,  called  Otto  Vaenius,  born  at  Leyden  (1558- 
1629).  Painter  of  historical  subjects,  in  a  cold  and  affected  manner. 
He  was  a  man  of  unusual  classical  learning,  but  his  introduction  of 
allegorical  allusions  was  often  far-fetched  and  unpleasing.  His  works 
are  somewhat  numerous,  and  are  seen  in  the  Antwerp  and  Munich 
galleries. 

Velasco,  Don  Acisclo  Antonio  Palomino  de  Castro  y,  born 
at  Bujalance  (1653-1726).  The  Vasari  of  Spain.  His  "Museo 
Pictorico"  was  the  only  book  of  its  kind  until  the  work  of  Cean 
Bermudez  appeared.  Velasco  published  the  first  volume  in  1715, 
and  the  second  nine  years  later.  As  a  painter  he  became  quite  cele- 
brated, and  executed  many  important  works  in  Madrid.  He  was 
associated  with  Alfaro,  Cocllo,  Carreno,  and  Giordano.  He  was  ap- 
pointed painter  to  the  King,  on  account  of  his  works  at  the  Alcazar. 
He  also  painted  in  Valencia,  Salamanca,  Granada,  and  Cordova.  In 
early  life  he  had  been  ordained  for  the  church,  and  in  1 725  he  en- 
tered into  full  orders.  He  had  been  married,  and  was  interred  with 
great  pomp  by  the  side  of  his  wife,  in  the  ch.  of  S.  Francesco,  at 
Madrid. 

Velasquez,  Diego  Rodriguez  de  Silva  y,  born  at  Seville,  1599; 
died  at  Madrid,  16GO.  Both  his  parents  were  of  noble  blood.  His 
father  was  Juan  Rodriguez  de  Silva,  and  his  mother  Geronima  Velas- 
quez, by  whose  name,  according  to  the  custom  of  Andalusia,  he  was 
called.  The  poverty  of  his  paternal  grandfather  caused  him  to  leave 
Portugal  and  seek  his  fortune  at  Seville.  To  this  circumstance  Spain 


VELASQUEZ.  597 

owes  her  greatest  painter.  His  father  became  a  lawyer,  and  lived 
comfortably  at  Seville ;  and  his  mother  devoted  herself  to  his  educa- 
tion. His  great  love  of  drawing  induced  his  father  to  place  him  in 
the  school  of  Herrera,  the  Elder,  whom  Stirling  calls  "a  clever 
brute,"  and  of  whom  Velasquez  soon  became  weary.  Before  leaving 
him,  however,  he  had  acquired  something  of  his  free,  bold  style. 
He  then  entered  the  school  of  Francesco  Pacheco,  a  somewhat 
inferior  painter,  but  a  learned  and  polished  gentleman.  Velasquez 
soon  learned  all  he  could  teach  him  of  painting,  and  at  the  same  time 
discovered  that  the  study  of  nature  and  untiring  industry  were  the 
surest  guides  to  perfection  for  an  artist  Until  1622,  he  painted 
actual  pictures  of  the  low,  or  common  life  which  he  saw  around  him, 
accustoming  himself  to  paint  nothing  of  which  he  had  not  the  model 
before  him.  He  strictly  adhered  to  color,  form,  and  outline  of  what- 
ever he  represented;  and,  we  are  told,  kept  a  peasant  lad  for  a 
study,  and  from  him  executed  a  variety  of  heads  in  every  posture, 
and  with  every  expression  possible.  In  this  way  he  acquired  his 
wonderful  skill  in  taking  likenesses.  To  this  period  belong  the 
"  Water  Carrier  of  Seville,"  several  pictures  of  beggars,  and  the 
"  Adoration  of  the  Shepherds."  The  first  of  these  is  now  at  Apsley 
House;  the  "Adoration  of  the  Shepherds,"  and  a  "Beggar  Boy 
munching  apiece  of  Pastry,"  are  in  the  Louvre;  at  the  Imperial 
Gall,  of  Vienna  there  is  a  "  Laughing  Peasant  holding  a  Flower;" 
and  in  the  Pinakothek,  at  Munich,  another  "  Beggar  Boy."  In  1622 
his  desire  to  see  the  paintings  of  the  Royal  Galleries,  which  had 
been  aroused  and  intensified  by  his  reading,  and  the  accounts  to 
which  he  had  listened  from  the  guests  of  Pacheco,  led  him  to  Madrid. 
Letters  which  he  carried  obtained  him  admission  to  the  galleries,  but 
during  this  visit  he  was  not  brought  especially  to  the  notice  of  the 
King.  He  however  painted  the  portrait  of  the  poet  Gongora,  and 
after  a  few  months  returned  to  Seville.  While  in  Madrid  he  secured 
the  friendship  of  Fonseca,  a  noted  patron  of  art,  who  after  his  de- 
parture interested  the  minister  Olivarez  in  his  behalf.  This  resulted 
in  :i  letter  summoning  Velasquez  to  court,  fifty  ducats  being  sent 
him  for  the  journey.  He  was  attended  by  his  slave,  Juan  Pareja,  a 
mulatto  lad,  who  was  his  faithful  attendant  for  many  years,  and 
I  HTjimii  an  excellent  painter.  Pacheco,  who  was  now  his  father-in- 
law  as  well  as  instructor,  also  accompanied  him.  His  first  work  at 
the  Capitol  was  a  portrait  of  Fonseca,  which  was  carried  immediately 
to  the  King,  and  so  pleased  him  that  he  appointed  Velasquez  to  his 
service,  in  which  he  remained  during  his  life.  The  service  of  Philip 
IV.  gave  Velasquez  full  opportunity  to  perfect  himself  as  a  portrait 
painter,  for  the  King  was  never  weary  of  multiplying  pictures  of 
liimself,  and,  it  is  said,  would  sit  three  hours  at  a  time  without  weari- 
ness. He  also  had  many  portraits  of  his  Queens  and  children,  both 
in  groups  and  single  pictures.  The  life  of  Velasquez  was  an  excep- 


598 


VELASQUEZ. 


tion  to  that  of  most  artists,  in  the  evenness  of  its  prosperity.  He 
steadily  advanced  to  perfection  in  his  art,  and  the  favor  of  his  King 
was  such  as  to  afford  him  every  opportunity  for  improvement  and 
enjoyment.  He  went  twice  to  Italy;  the  first  time  to  study  the 
works  of  that  country  and  its  various  schools  of  art.  He  visited  all 
the  large  cities,  and  was  absent  from  Spain  about  two  years.  Dur- 
ing this  time  he  painted  the  "Forge  of  Vulcan"  and  "Joseph's 
Coat,"  which  are  among  his  most  celebrated  works.  He  went  the 
second  time  to  Italy,  as  the  agent  of  the  King,  to  collect  works  of  art; 
and  his  orders  gave  him  the  liberty  to  buy  everything  that  he  thought 


PORTRAIT.     BY  VELASQUEZ. 

worth  having.  In  this  capacity  he  was  everywhere  received  with 
attention  and  kindness.  The  Pope  sat  to  him  for  his  portrait; 
Cardinals  Barberini  and  Rospigliosi,  and  many  Roman  princes, 
treated  him  with  the  utmost  civility ;  and  he  numbered  among  his 
friends  the  sculptors  Bernini  and  Algardi,  ancl  the  painters  Nicolas 
Poussin,  Pietro  da  Cortona,  Claude,  and  Matteo  Prete,  or  II  Calabrese. 
Upon  his  return  to  Madrid  he  was  appointed  aposentador-major, 
with  a  salary  of  3000  ducats  a  year,  and  he  carried  at  his  girdle  a 
key  which  would  open  every  lock  in  the  palace.  Although  the  duties 
of  his  office  required  him  to  superintend  the  ceremonies  and  festivals 
of  the  royal  household,  he  still  found  time  to  arrange  his  Italian 


VELASQUEZ.  599 

bronzes  and  marbles  in  the  halls  of  the  Alcazar,  to  oversee  the  cast- 
ing in  bronze  from  the  models  which  he  had  brought  from  Italy,  and 
to  paint  his  last  great  picture,  known  in  Spain  as  "  Las  Meninas,"  or 
the  "Maids  of  Honor,"  which  represents  the  royal  family  with  the 
artist,  maids  of  honor,  the  dwarfs,  and  a  sleeping  hound.  It  is,  said 
that  when  the  King  saw  the  picture  he  declared  but  one  thing  want- 
ing, and  painted  the  cross  of  Santiago  upon  the  breast  of  the  artist 
with  his  own  hand.  This  is  the  picture  which  Luca  Giordano  called 
"  The  Theology  of  Painting."  The  last  great  ceremony  at  which 
he  officiated  was  the  meeting  of  the  courts  of  France  and  Spain,  on 
the  Isle  of  Pheasants,  when  Louis  XIV.,  accompanied  by  the  Queen- 
Mother  of  France,  received  the  Infanta  Maria  Teresa  for  his  wife. 
The  pomps  and  rejoicings  were  worthy  of  the  two  most  luxurious 
courts  of  Europe,  and  all  these,  as  well  as  the  provision  for  the  royal 
households,  were  superintended  by  Velasquez.  That  week  upon  the 
Isle  of  Pheasants  furnished  many  scenes  worthy  the  pen  or  pencil  of 
the  poet  and  artist.  Stirling  says  that  the  life  of  Velasquez  was 
shortened  by  the  fatigues  of  his  office.  Certain  it  is  that  he  arrived 
in  Madrid,  on  the  26th  of  June,  much  fatigued  with  his  journey;  that 
his  health  gradually  failed,  and  he  died  on  the  6th  of  August.  He 
was  buried  with  magnificent  ceremonies  in  the  ch.  of  S.  Juan,  which 
was  destroyed  by  the  French  in  1811.  His  wife  survived  him  but 
eight  days,  and  was  buried  in  the  same  grave.  The  character  of 
Velasquez  was  rare,  and  happy  in  its  combination  of  freedom  from 
jealousy,  power  to  conciliate,  and  sweetness  of  temper,  with  strength 
of  will  and  intellect,  and  steadfastness  of  purpose.  Stirling  says, 
"  He  was  the  friend  of  Rubens,  the  most  generous,  and  of  Ribera, 
the  most  jealous,  of  the  brethren  of  his  craft;  and  he  was  the  friend 
and  protector  of  Cano  and  Murillo,  who,  next  to  himself,  were  the 
greatest  painters  of  Spain.  The  favorite  of  Philip  IV.,  in  fact,  his 
minister  for  artistic  affairs,  he  filled  this  position  with  a  purity  and 
a  disinterestedness  very  uncommon  in  the  counsellors  of  state ;  and 
to  befriend  an  artist  less  fortunate  than  himself  was  one  of  the  last 
acts  of  his  amiable  and  glorious  life."  .  Of  the  portraits  of  Velasquez, 
the  most  youthful  is  in  the  picture  of  the  "  Surrender  of  Breda," 
painted  about  1646;  and  the  most  authentic,  that  in  the  "  Maids  of 
Honor,"  1656.  In  the  Royal  Gall,  of  Madrid  there  is  no  separate 
picture  of  Velasquez.  Florence  has  two,  Munich  one,  and  in  the 
Coll.  of  the  Earl  of  Ellesmere  there  is  another,  of  which  there  is  a 
copy  in  the  Louvre.  The  following  list  gives  the  names  of  his  most 
important  pictures,  and  the  places  where  they  are  at  present :  — 
The  Water  Carrier  of  Seville.  Apsley  House. 

Boar  Hunt  at  the  Pardo.  National  Gall. 

The  Adoration  of  the  Shepherds.  "          " 

Los  Borrachos,  or  the    Topers; 

1624.  Madrid  Gall.,  Royal  Mus. 


600 


VELASQUEZ. 


Las  Hilanderas,  or  the  Spinsters. 
The  Coronation  of  Our  Lady. 
Adoration  of  the  Wise  Men. 
Christ  on  the  Cross. 
S.  Anthony  the  Abbot  and  S.  Paul 

the  first  Hermit. 
The  Forge  of  Vulcan. 
The  Surrender  of  Breda. 
Las  Meninas. 
Mars. 
Moenippus. 


Eight  different  Portraits  of  Philip 

IV. 
And  many  others,  making  in  all 

sixty-five  by  Velasquez  in  this 

Gall. 
Christ  and  the  Disciples  at  Em- 

maus. 
Two  pictures  of  S.  Peter,  half- 

length. 

S.  John,  half-length. 
Sketch  of  S.  Anthony  the  Abbot, 

and  S.  Paul. 
S.  Isidore  the  Laborer. 
Two  Portraits  of  Philip  IV. 
Two  Portraits  of  Queen  Isabella 

of  Bourbon. 

Queen  Mariana  of  Austria. 
Landscape,  Woodlands  at  Sunset. 
The  Old  Alameda  of  Seville. 
Several  other  Portraits. 
The  Family  Picture  of  Velasquez. 
Portrait  of  Philip  IV. 
The  Infant  Don  Balthazar  Carlos. 
Two  Portraits  of  Infantas. 
Card.  Rospigliosi. 
Young  Man  in  a  Black  Dress. 
Man  in  Armor. 
Two  Busts  of  Men. 
Beggar  Boy. 
The  Count  of  Olivares. 
Two  Peasants  seated  at  a  Table 

with  Flasks  and  Glasses. 
Philip  IV.,  bust. 
Duke  of  Olivares,  bust. 


Madrid  Gall. 

U  II 


Louvre. 


Royal  Mue, 


Vienna,  Imperial  Gall- 


Munich,  Pinakothek 


Dresden. 


St.  Petersburg,  Hermitage. 


VELASQUEZ  —  VELDE.  601 

Innocent  X. ,  Study  of  the  Head.  St.  Petersburg,  Hermitage. 

Old  Man  with  a  White  Beard.  «  "  « 

Head  of  a  Peasant.  "  "  " 

Peasant  Boy  laughing.  "  "  " 

View  of  Saragossa.  "  «  « 

View  of  the  Harbor  of  La  Ca- 

racca.  "  "  « 

A  Thatched  Hut,  by  a  Road- 
side. "  "  " 

Philip  IV.  on  Horseback.  Florence,  Royal  Gall. 

Two  Portraits  of  Velasquez.  "         "  " 

Man;  half-length.  Pitti  Pal. 

The  Duke  of  Olivares.  The  Hague,  Gall,  of  the  King. 

Girl  in  a  Green  Press.  "  u      u    u       44 

ENGRAVINGS  AFTER  VELASQUEZ. 

Engraver,  AMETLLE"R,  Bias.     The  Water-carrier  of  Seville. 

Engraver,  AUDOUIN,  Pierre.     Las  Meninas,  The  Maids  of  Honor. 

Engraver,  BOUVIER,  Charles.     Cervantes. 

Engraver,  CRONTELLE,  L.  Portrait  of  the  great  pirate  Barba- 
rossa. 

Engraver,  FERRERI,  Cesare.     Portrait  of  Philip  IV. 

Engraver,  GRUNER,  Ludwig.     A  Shepherd;    1826. 

Engraver,  LUDERITZ,  Gustav.     The  Infanta  Margarita. 

Engraver,  PANNIER.     Bust  of  a  Young  Man. 

Velde,  Willem  van  de,  the  Elder,  born  at  Leyden  (1610-1693). 
The  fame  of  this  artist  is  lost  in  that  of  his  great  son.  He  was,  how- 
ever, a  reputable  painter  of  marine  subjects.  His  early  life  as  a 
sailor  gave  him  much  knowledge  of  every  description  of  vessel  and 
rising,  and  greatly  assisted  him  to  excellence  in  technicalities.  In 
1675  he  went  to  England,  by  invitation  of  Charles  H.,  and  remained 
there  until  his  death. 

Velde,  Willem  van  de,  the  Younger,  born  at  Amsterdam  (1633- 
1707).  He  was  first  instructed  by  his  father,  and  then  by  the  excel- 
lent Simon  de  Vlieger.  He  passed  his  early  life  in  Holland,  and  fol- 
lowed his  father  to  England,  where  he  was  much  patronized  by  the 
crown  and  by  the  nobility  and  amateurs  among  the  gentry.  He 
stands  first  among  Dutch  marine  painters.  He  represented  the  sea 
under  all  its  changes  of  storm  and  calm  with  the  utmost  truthfulness. 
He  was  perfectly  familiar  with  every  rope  and  all  the  minute  differ- 
ences in  the  various  kinds  of  vessels.  His  aerial  perspective,  his 
light  clouds,  and  all  his  atmospheric  effects  are  picturesque  and  pure 
in  feeling.  His  works  number  329,  according  to  Smith,  and  are 
mostly  in  Holland  and  England,  very  few  having  been  allowed  to 
leave  those  countries.  We  have  not  space  to  enumerate  even  the 
finest  of  them;  they  can  be  well  studied  in  the  Amsterdam,  Hague, 


602  VELDE  —  VERNET. 

and  Munich  galleries.     His  pictures,  when  sold  in  these  days,  bring 
enormous  prices. 

Velde,  Adrian  van  de,  born  at  Amsterdam  (1639-1672).  This 
very  remarkable  painter  and  etcher  was  a  pupil  of  Jan  Wynants.  In 
similar  subjects  to  those  painted  by  Paul  Potter-  he  ranks  almost  as 
high  as  that  artist;  in  landscapes  he  was  one  of  the  greatest  masters, 
and  his  etchings  were  almost  better  than  his  pictures.  All  his  works 
are  finished  with  great  labor  and  delicacy ;  he  died  in  his  thirty-third 
year ;  he  painted  many  figures  and  animals  in  the  pictures  of  other 
artists;  and  yet  he  executed  187  pictures  and  26  plates.  His  earliest 
known  work  is  dated  1655.  His  pictures  are  seen  in  all  large  Conti- 
nental galleries  north  of  Italy,  and  quite  a  number  are  in  England. 
Good  impressions  of  some  of  his  plates  are  very  rare,  and  cost  im- 
mense sums.  No.  26  was  purchased  for  Baron  Rothschild  in  1841 
for  £1125.  In  1763  it  was  sold  for  £53. 

Vendramini,  John,  born  near  Bassano  (1769-1839).  This  en- 
graver studied  under  Bartolozzi.  He  went  to  Russia  in  1805  and  re- 
mained two  years ;  when  he  wished  to  leave,  the  Emperor  refused 
him  a  passport,  but  by  the  assistance  of  friends  he  escaped.  His 
best  plates  are  after  works  of  the  old  masters.  Among  these  are  ex- 
cellent ones  of  the  "  Raising  of  Lazarus,"  by  Sebastian  del  Piombo, 
"  Leda,"  by  Leonardo  da  Yinci,  and  the  "  Vision  of  S.  Catherine," 
by  Paul  Veronese. 

Veneziano,  Agostino.     See  Musis. 

Veneziano,  Sebastiano.     See  Piombo. 

Veneziano,  Carlo.     See  Saraceno. 

Veneziano,  Antonio.  Flourished  about  the  middle  of  the  14th 
century.  His  works  at  the  Campo  Santo  at  Pisa,  representing  the 
history  of  S.  Ranieri,  and  the  "  Miracle  of  the  Loaves  and  Fishes," 
at  Florence,  are  his  most  celebrated  works. 

Venne,  Adrian  van  der,  born  at  Delft  (1589-1662).  This 
painter  divided  his  time  between  writing  and  painting.  His  pictures 
are  seen  in  the  Louvre  and  Amsterdam  Mus.  He  painted  historical 
subjects  in  which  many  of  the  figures  were  portraits. 

Verboom,  Abraham.  Flourished  1653.  An  imitator  of  Ruys- 
dael.  His  pictures  are  good,  and  may  be  seen  in  the  Amsterdam  and 
Dresden  galleries.  Bartsch  describes  two  etchings  by  this  artist 
which  are  extremely  rare. 

Vernet,  Claude  Joseph,  born  at  Avignon  (1714-1789).  An  em- 
inent French  marine  painter.  He  was  commissioned  by  Louis  XV. 
to  paint  the  seaports  of  France.  Fifteen  of  these  are  now  in  the 
Louvre.  His  drawing  is  correct  and  his  finish  elaborate,  but  his 
figures  are  stiff  and  his  color  monotonous.  There  have  been  many 
engravings  from  his  works.  He  also  executed  a  few  etchings.  His 
Italian  seaports,  and  views  near  Rome  and  Tivoli,  are  among  his  best 
pictures.  The  "  Castle  of  S.  Angelo  "  is  in  the  National  Gall. 


VERNET.  603 

ENGRAVINGS   AFTER   THE   WORKS   OF   JOSEPH   CLAUDE   VERNET. 

Engraver,  ALIAMET,  Jacques.  A  Storm.  A  Fog.  A  Fire  in  a 
Seaport  by  Night.  Two  sea  pieces  —  the  Fisherman,  and  Return 
from  Fishing.  Four  —  the  Four  Times  of  the  Day. 

Engraver,  AVELINE,  Francis  Anthony.  View  of  a  Port  in  the 
Levant. 

Engraver,  AVRIL,  Jean  Jacques.  Fishermen  Returning.  Travel- 
lers in  a  Storm.  The  Shipwreck;  1775. 

Engraver,  BALECHOU,  John  James.  The  Storm.  The  Calm. 
The  Bathers. 

Erujraver,  BAS,  James  Philip  Le.  An  Italian  Seaport.  Fisher- 
men going  out.  Thirteen  of  the  ports  of  France ;  after  the  etch- 
ings of  Cochin. 

Engraver,  BENASECH,  Peter  Paul.  Fishermen.  Return  from 
Fishing.  A  Calm  at  Sea.  Morning. 

Engraver,  BERNE,  William.     A  sea  piece. 

Engraver,  CATHELIN,  Louis  Jacques.  A  Waterfall  with  Fisher- 
men. A  set  of  four  Pictures  of  the  Times  of  the  Day. 

Engraver,  COULET,  Anne  Phillibert.  The  Departure  of  the  Boat. 
Tin;  Fortunate  Passage.  The  Fine  Afternoon.  The  Fishermen 
throwing  their  nets.  Neapolitan  Fishermen. 

Engraver,  DAUDET,  John  Baptist.  The  Washerwomen.  Corsi- 
can  Fishermen. 

Engraver,  DAULLE,  John.  Four  plates;  marines  and  other  sub- 
jects. 

Engraver,  DAVID,  Francis  Anne.  Two  Views  of  the  Gulf  of  Ven- 
ice. Two  Views  near  Dunkirk. 

Engraver,  DURET,  Peter.     An  Italian  Seaport. 

Engraver,  FLIPART,  Jean  Jacques.  A  Sea-storm  by  Day.  A 
Sea-storm  at  Night. 

Engraver,  LAWRIE,  Robert.     A  hard  Gale.     A  Squall. 

Kinjraver,  LEMPEREUR,  Catherine  Elizabeth.  A  set  of  six  marine 
subjects  and  seaports. 

J'lin/raver,  LERPINIERE,  Daniel  De.  A  sea-piece;  a  Storm.  A 
Calm. 

Kn graver,  MARCENAY,  Anthony  de  Ghuy.  Sunset.  A  View  of 
the  Sraroast,  with  Fishermen. 

Engraver,  MARTINI,  Pietro  Antonio.  The  Pleasures  of  Summer. 
A  View  of  Spoletto.  A  View  of  Porto  Ercole.  A  View  of  Avignon. 

Kmjnu'c.r,  M  ASQUELiER,  Louis  Joseph.  A  View  in  Italy.  A 
Shipwreck. 

Kin/raver,  NICOLET,  Benedict  Alphontius.  A  View  of  Naples. 
A  Shipwreck. 

Engraver,  O/ANNE,  Jane  Francis,  and  Mary  Jane.  Two  Views  of 
the  Port  of  Leghorn ;  M.  J.  Ozanne.  A  Calm. 


604  VERNET  —  VERROCHIO. 

Engraver,  SCHLICHT,  Abel.     A  Storm  and  Shipwreck.     A  Calm. 

Engraver,  VEAU,  John  le.  A  View  of  Montserrat.  The  Fisher- 
men. 

Vernet,  Antoine  Charles  Horace,  called  Carle  Vernet.  Born 
at  Bordeaux  (1758-1835).  Son  of  the  preceding,  and  father  of 
Horace  Vernet.  It  is  said  that  when  dying  he  exclaimed,  "  C'est 
singulier  comme  je  resemble  au  grand  Dauphin,  fils  de  roi,  pere  de 
roi  —  et  jamais  roi."  He  was  celebrated  for  his  good  nature,  wit,  and 
brilliant  repartee.  He  was  a  battle  painter.  His  horses  were  his 
chefs-d'oeuvre.  The  "Battle  of  Marengo  "  and  the  "Morning  of 
Austerlitz  "  were  his  best  works.  For  them  Napoleon  gave  him  the 
Cross  of  the  Legion  of  Honor;  he  was  also  a  Chevalier  of  the  Order 
of  S.  Michael,  and  a  member  of  the  Institute  of  France. 

Vernet,  Emile  Jean  Horace,  born  in  the  Louvre  (1789-1863). 
Pupil  of  his  father.  At  fifteen  years  of  age  he  maintained  himself 
by  his  own  drawings.  In  1814  Napoleon  decorated  him  with  the 
Cross  of  the  Legion  of  Honor,  on  account  of  his  gallant  conduct  at 
the  Barriere  -of  Clichy,  where  he  and  Gericault  served  in  a  regiment 
of  hussars;  before  his  death  he  became  a  Grand  Officer  in  that  Or- 
der. In  1826  he  was  made  a  member  of  the  Institute,  and  in  1828 
was  Director  of  the  French  Acad.  of  Arts  at  Rome.  He  was  seven 
years  in  Rome,  and  there  executed  his  best  works.  He  also  travelled 
to  Algiers,  Egypt,  Syria,  the  Holy  Land,  Russia,  and  England.  He 
was  everywhere  honored  by  the  attentions  of  those  in  the  loftiest  posi- 
tions, and  died  full  of  honors  and  years.  His  powers  of  painting  were 
simply  marvellous ;  it  is  said  that  many  of  his  works  were  completed 
alia  prima,  without  retouching.  He  painted  a  variety  of  subjects.  At 
the  Exhibition  of  1855  he  displayed  twenty-two  pictures,  the  most 
important  being  battle  scenes.  He  painted  some  fine  portraits  and 
good  genre  subjects,  such  as  an  "  Arab  Camp  Scene."  There  is  no 
doubt  that  the  excellence  of  Vernet  has  been  overestimated  in  many 
directions,  but  his  wonderful  memory,  his  power  of  representing  what 
he  remembered,  and  his  facility  of  execution,  are  all  worthy  of  remark. 

Veronese,  Paolo.     See  Cagliari. 

Veronese,  Alessandro.     See  Turchi. 

Verrochio,  Andrea  (1432-1488).  An  important  follower  of  the 
sculptor  Donatello.  He  was  first  a  goldsmith,  then  a  painter;  but 
sculpture  was  his  best  loved  art.  His  execution  was  careful  and  fin- 
ished ;  his  nude  parts  are  truthful  but  without  grace ;  his  draperies 
are  often  in  small,  crumpled  folds.  His  best  works  are  the  "  David," 
in  the  Mus.  of  the  Bargello ;  a  bronze  Genius  pressing  to  itself  a 
dolphin,  on  a  fountain  in  the  court  of  the  Palazzo  Vecchio  ;  and  the 
equestrian  statue  of  Colleoni,  in  front  of  the  ch.  of  S.  Giovanni  e 
Paolo,  at  Venice.  The  group  of  "  S.  Thomas  examining  the  Wounds 
of  Christ,"  at  Or  San  Michele,  belongs  to  his  latest  manner,  and  is 
powerful  in  expression,  though  the  drapery  remains  indistinct  and 
faulty. 


VERSCHURING  —  VINCI.  605 

Verschuring,  Henrik,  born  at  Gorcum  (1620-1690).  He  painted 
military  subjects,  banditti,  etc.,  in  a  pleasing  style.  He  executed 
four  etchings  which  are  very  rare ;  they  represent  a  battle,  some 
travellers,  and  two  sets  of  dogs. 

Vertue,  George,  born  in  London  (1684-1756).  This  very  eminent 
line  engraver  has  preserved  for  us  many  venerable  antiquities  as  well 
as  a  large  number  of  portraits.  He  excelled  in  engraving  the  pictures 
of  Sir  Godfrey  Kneller,  and  was  much  patronized  by  the  nobility  on 
account  of  his  power  of  preserving  the  distinguished  air  of  the  lords 
and  ladies  whose  pictures  he  reproduced.  His  works  are  very  nu- 
merous. 

Victor,  Jan.  Almost  nothing  is  known  of  this  master.  He 
painted  Biblical  subjects  in  the  manner  of  Rembrandt.  They  are 
dated  about  1640-1650.  They  are  in  good  collections,  and  are  often 
very  excellent  in  pencilling,  chiaro-scuro,  and  color. 

Vien,  Joseph  Marie,  born  at  Montpellier  (1716-1809).  He  is 
called  the  regenerator  of  painting  in  France.  He  was  the  teacher  of 
David;  his  merit  was  more  in  his  technical  qualities  than  in  his 
whole  manner.  He  was  prolific  in  pictures  of  religious  and  profane 
subjects.  His  works  are  in  large  numbers  in  the  churches  and  col- 
lections of  Paris. 

Vigarny,  Felipe  de,  called  Felipe  de  Borgona,  because  his  father 
was  a  Burgundian.  Born  at  Burgos  ;  died  at  Toledo,  1543.  In  1502 
he  had  been  called  to  Toledo  by  Card.  Ximenes,  to  superintend  the 
erection  of  the  high-altar  of  the  Cath.  For  this  he  executed  histor- 
ical bas-reliefs  and  portraits.  At  Granada  he  constructed  the  high- 
altar  for  the  Royal  Chapel  of  the  Cath.  The  colored  wooden  bas- 
reliefs  which  represent  the  "  Surrender  of  the  Alhambra,"  and  the 
u  Baptism  of  the  Moslem,"  are  attributed  to  Vigarny.  He  returned 
to  Toledo,  probably,  to  execute  the  monument  of  Ferdinand  and  Isa- 
bella. His  last  work  was  upon  the  choir  of  Toledo  Cath.  This  he 
did  in  conjunction  with  Berreguette.  Until  the  return  of  the  latter 
from  Italy,  Vigarny  was  esteemed  the  best  sculptor  in  Spain. 

^^^        Villamena,  Francesco,  born  at  Assisi  (1566-1626). 
XT'    This  designer  and  engraver  is  supposed  to  have  been  a 
CxNt       Pupil  °f  Cornelius  Cort.     His  drawing  was  correct  and 
his  heads  expressive,  but  his  light  was  too  generally  dif- 
fused; this  weakens  and  gives  an  unfinished  appearance.     His  prints 
are  numerous. 

Villavicencio,  Don  Pedro  Nunez,  born  at  Seville  (1635-1700). 
A  nobleman  who  gave  much  time  to  painting,  and  particularly  ex- 
celled in  representing  ragged  boys.  A  large  work  in  the  Royal  Gall, 
of  Spain  represents  two  boys  wrangling  over  their  dice,  in  the  fore- 
ground; there  is  a  landscape  background,  and  other  figures. 

Vinci,  Leonardo  da,  born  at  the  Castle  of  the  Vinci,  in  the 
lower  vale  of  the  Arno,  in  1452.  He  was  a  natural  son  of  Pietro 


606  VINCI. 

da  Vinci,  but  lived  always  in  his  father's  family,  and  was  treated 
with  the  same  consideration  as  his  other  children,  not  only  by  his 
father,  but  by  his  uncle,  Francesco  da  Vinci,  who  left  him  a  share 
of  his  property.  He  was  a  person  of  wonderful  talents,  a  fine  math- 
ematician, well  skilled  in  mechanics,  an  able  architect,  a  poet,  and 
a  musician.  In  addition  to  these  attainments  he  had  great  personal 
beauty,  and  excelled  in  all  manly  exercises.  He  was  also  fond  of 
gayety  and  luxurious  h'ving,  and  was,  in  short,  the  brilliant  good 
fellow  of  whatever  company  he  was  in,  and  his  reputation  early 
extended  over  all  Italy.  In  spite  of  his  various  other  acquirements 
painting  was  his  favorite  pursuit,  and  the  one  to  which  he  most 
applied  himself.  His  father  placed  him  under  the  instruction  of 
Andrea  del  Verocchio,  an  eminent  master  of  his  time.  He  soon 
perceived  the  extraordinary  ability  of  his  pupil,  and  tradition  relates 
that  soon  after  Leonardo  became  his  scholar,  being  employed  to 
paint  the  "  Baptism  of  Christ,"  he  gave  him  a  portion  of  the  work  to 
do.  An  angel  painted  by  the  youth  so  far  excelled  the  master  that 
he  resigned  the  pencil  forever,  * '  enraged  that  a  child  should  know 
more  than  himself ."  From  this  time  Leonardo  devoted  himself  to 
the  different  branches  of  the  art  he  loved,  but  with  some  want  of 
steadfastness.  He  went  much  into  society,  lived  extravagantly, 
keeping  a  retinue  of  servants,  and  a  sumptuous  equipage.  He  was 
also  at  times  diverted  by  his  love  of  the  sciences,  sometimes  making 
astronomical  observations,  sometimes  studying  natural  history  and 
botany.  His  numerous  scientific  writings  show  with  what  industry 
he  must  have  worked.  Two  projects,  of  the  many  which  he  con- 
templated, deserve  notice.  One  was  the  lifting  of  the  Cath.  of  S. 
Lorenzo  by  means  of  immense  levers ;  the  other  was  to  form  a  canal 
of  the  Arno  as  far  as  Pisa.  Vasari  relates  that  one  of  the  Contadini 
on  his  father's  estate  brought  to  him  a  piece  of  wood  from  a  large 
fig-tree,  desiring  to  have  something  painted  on  it.  Leonardo,  after 
considering,  determined  to  try  what  effect  he  could  produce  with 
the  horrible,  and  collected  serpents,  lizards,  and  other  obnoxious 
animals,  from  which  he  painted  a  monster  so  horrid  that  it  seemed 
to  infect  the  atmosphere  about  it.  When  it  was  finished  he  called 
his  father,  who  was  so  much  frightened  that  he  turned  and  ran 
away.  Leonardo  was  quite  satisfied  with  his  work,  which  was  sold  to 
a  merchant  for  the  large  sum  of  100  ducats,  and  soon  after  pur- 
chased by  the  Duke  of  Milan  for  three  times  that  sum.  It  was 
called  the  "  Rotello  del  Fico."  Da  Vinci  was  able  to  remember  a 
peculiar  face  he  had  seen,  and  on  his  return  home  could  draw  it 
from  memory  as  well  as  if  it  had  been  present.  He  was  in  the  habit 
of  inviting  people  from  the  lower  orders  to  his  house,  amusing  them, 
and  sketching  their  faces.  In  this  way  he  produced  the  most 
ridiculous  caricatures,  which  were,  at  the  same  time,  good  likenesses. 
He  sometimes  showed  them  to  the  originals.  For  the  sake  of  his 


VINCI.  G07 

studies  he  went  so  far  as  to  accompany  criminals  to  the  place  of 
execution;  in  short,  he  neglected  no  means  for  perfecting  himself  in 
his  art.  After  a  time  Leonardo  became  anxious  to  secure  some 
fixed  salary  for  himself,  and  wrote  to  the  Duke  of  Milan,  Ludovico 
Sforza,  called  II  Moro,  offering  his  services  to  that  prince.  Matters 
were  arranged,  and  his  salary  fixed  at  500  scudi,  besides  various 
immunities,  and  the  privilege  of  receiving  the  price  of  pictures  not 
executed  by  the  order  of  the  duke.  The  time  of  his  going  to  Milan 
is  a  matter  of  doubt,  as  the  dates  given  by  various  authorities  range 
from  1487  to  1494.  This  Duke  of  Milan,  although  a  regent,  governed 
with  absolute  power,  and  had  gathered  about  him  talented  men  for 
the  instruction  and  amusement  of  his  nephew.  He  fully  appreciated 
Leonardo,  and  knew  something  of  his  talents  from  the  "  Rotello  del 
Fico."  Leonardo,  for  his  part,  found  himself  in  a  most  pleasing 
situation.  Surrounded  with  brilliant  and  congenial  men,  leading  a 
gay  life,  he  soon  became  a  favorite  of  the  Duke,  who  was  a  great 
lover  of  pleasure,  and  dissolute  in  his  private  life.  Leonardo  could 
assist  him  in  all  things,  by  advice  at  his  council,  by  plans  for  the 
adorning  of  his  city,  by  music  and  poetry  in  his  leisure  hours,  and 
by  painting  the  portraits  of  his  favorite  mistresses.  His  first  public 
work  at  Milan  was  the  equestrian  statue  of  Francesco  Sforza,  the 
First.  At  this  time  he  also  painted  the  portraits  of  Cecilia  Gal- 
lerani,  and  Lucretia  Crevelli,  two  favorites  of  the  Duke.  These 
portraits  were  both  celebrated  and  admired,  and  the  latter  is  be- 
lieved to  be  now  in  the  Louvre.  H  Moro  proved  the  estimation  in 
which  he  held  Leonardo  by  choosing  him  to  be  the  founder  and 
director  of  an  academy  which  he  had  long  wished  to  establish,  the 
purpose  of  which  was  the  bringing  together  of  men  of  letters  and 
skilful  artists.  It  was  called  the  "Academia  Leonardi  Vinci." 
Leonardo  was  also  made  superintendent  of  all  the  fetes  and  entertain- 
ments given  at  the  court  of  Milan,  and  the  Duke  employed  Leonardo 
in  the  great  undertaking  of  bringing  the  waters  of  the  Adda  from 
Mortesana  to  Milan,  a  distance  of  nearly  two  hundred  miles,  a  work 
which  he  accomplished  to  the  wonder  and  astonishment  of  all  Italy. 
In  1494,  Charles  VIII.  invaded  Italy,  and  went  to  Pavia,  where  H 
Moro  entertained  him  magnificently.  Leonardo  had  much  to  do 
here,  but  he  found  time  to  study  the  anatomy  of  the  human  body 
under  Marc  Antonio  della  Torre.  Da  Vinci  was  accustomed  to 
draw  the  different  portions  of  the  human  frame  in  red  chalk,  while 
his  instructor  would  describe  them  most  minutely.  Some  of  these 
drawings  are  preserved  in  the  Royal  Library  in  London.  Leonardo 
also  made  himself  a  favorite  of  the  French  King.  Not  long  after 
this  II  Moro  became  the  established  Duke  of  Milan.  He  now  had 
more  leisure  for  the  cultivation  of  literature  and  art,  and  his  court 
became  what  that  of  Florence  had  been  under  Lorenzo  de'  Medici. 
Leonardo's  life  at  the  court  of  Milan  was  most  agreeable,  but  it  was 


608 


VINCI. 


detrimental  to  him  as  an  artist,  and  few  works,  comparatively,  can 
be  attributed  to  this  time.  At  length  the  Duke,  desirous  of  perfect- 
ing some  work  of  art  which  should  perpetuate  his  name  and  enrich 
his  capital,  commanded  Leonardo  to  paint  the  "  Last  Supper  "  on 
the  walls  of  the  Refectory  in  the  Dominican  convent  of  the  Madonna 
delle  Grazie.  It  is  not  precisely  known  when  he  commenced  this 
great  picture,  but  it  must  have  been  about  1497.  During  the 


JOHN,    PETER,    AND   JUDAS.       BY   DA   VINCI. 

From  the  "  Last  Supper,"  in  the  Refectory  of  S.  Maria  delle  Grazie,  Milan, 
progress  of  this  work  the  artist  encountered  many  difficulties,  among, 
which  the  impatience  of  the  prior  for  its  completion  was  most 
aggravating.  He  was  at  length  silenced  by  the  declaration  of  Da 
Vinci  that  he  had  sought  everywhere,  in  the  prisons,  and  among  the 
lowest  people,  for  a  model  for  the  Judas,  and  he  could  see  no  way 
in  which  to  satisfy  the  haste  of  the  prior  but  that  of  allowing  him 
to  sit  for  the  picture  of  the  traitor.  The  Duke  was  much  amused 
at  this,  and  Leonardo  relieved,  but  he  had  too  much  honor  to  have 


VINCI.  609 

acted  upon  this  thought  in  any  case.  Da  Vinci  had  been  always  in 
the  habit  of  carrying  a  sketch-book  in  his  girdle,  and  was  much  as- 
sisted by  the  sketches  he  thus  secured.  The  Cenacolo  has  been  made 
so  well  known,  by  the  engraving  of  Raphael  Morghen,  that  it  needs 
no  description ;  and  the  picture  itself  is  in  such  a  state  of  decay  that 
one  who  has  read  of  it,  seen  the  engraving,  and  imagined  its  beauties, 
can  have  little  satisfaction  in  looking  upon  it  in  its  present  condition. 
Many  good  copies  were  made  of  it  while  it  remained  perfect,  and 
are  scattered  throughout  Europe.  The  misfortunes  of  the  Duke  of 
Milan,  after  the  death  of  Charles  VIII.,  made  it  impossible  for  the 
equestrian  statue  to  be  finished,  and  Leonardo  was  reduced  to 
absolute  poverty.  He  did  not  immediately  leave  the  city  of  his 
patron,  but  waited,  hoping  for  better  days.  In  the  end  II  Moro  was 
imprisoned  in  France,  and  the  artist  returned  to  Florence.  Here  he 
was  received  with  great  respect  and  kindness,  but  was  obliged  to 
accustom  himself  to  the  simplicity  of  the  Republic,  in  place  of  the 
luxurious  extravagance  of  the  court  of  Milan.  He  was  immediately 
enrolled  in  the  list  of  the  artists  employed  by  government,  and  his 
pension  enabled  him  to  keep  a  comfortable  establishment,  with  his 
friend  Paciolo,  and  his  pupil  Andrea  Solaino.  After  remaining  a 
short  time  in  Florence  he  travelled  over  the  greater  part  of  Italy, 
and  in  1503,  having  returned,  he  engaged  to  paint  one  side  of  the 
council  hall  in  the  Palazzo  Vecchio.  Michael  Angelo  was  employed 
to  make  designs  for  the  same  purpose,  and  from  this  circumstance 
arose  the  jealousy  of  these  two  great  masters.  The  paintings  were 
never  done,  and  even  the  cartoons  were  destroyed.  The  subject  of 
Da  Vinci's  was  the  "  Defeat  of  Nicolo  Pici-nino."  That  of  Michael 
Angelo  was  called  the  "Bathing  Soldiers."  These  cartoons  were 
shown  in  the  Medici  Pal.  for  a  time,  and  Raphael  came  to  Florence 
in  order  to  study  them.  We  have  no  account  of  any  works  of  con- 
sequence by  Da  Vinci  after  the  painting  of  the  cartoon.  In  1507  he 
acquired  the  friendship  of  Louis  XII.  who  appointed  him  his  painter. 
But  Leonardo  did  not  go  to  France  at  that  time.  In  1514,  attracted 
by  the  fame  of  the  court  of  Leo  X.,  although  somewhat  broken  in 
spirit  and  advanced  in  years,  he  went  to  Rome.  He  was  kindly 
received  by  the  Pope,  and  painted  a  "Holy  Family,"  into  which  he 
introduced  the  portrait  of  a  young  lady,  probably  the  sister-in-law 
of  the  Pope.  This  picture  was  so  wonderful  in  its  execution  that 
the  Pope  em  ployed  him  in  an  important  work;  but  he  was  not 
treated  in  Rome  as  he  had  been  at  Milan,  or  with  the  consideration 
which  his  reputation  demanded.  Some  criticisms  which  the  Pope 
had  made  upon  him  came  to  his  ears,  and  he  resolved  to  leave  the 
city,  in  which  he  had  never  been  happy.  Francis  I.  succeeded  Louis 
XII.,  and  was  attempting  to  draw  around  him  men  who  were  eminent 
in  politics,  science,  and  literature.  Leonardo  resolved  to  go  to  him, 
and  set  out  for  Pavia  where  he  then  was.  He  was  received  bv  the 


610  VINCI. 

King  with  every  mark  of  favor,  and  from  that  time  Da  Vinci  con- 
sidered himself  as  belonging  to  the  French  court.  In  1516  he  went 
to  Paris,  where  he  met  with  a  reception  equal  to  his  merits,  and 
everything  was  arranged  for  his  comfort  and  pleasure.  But  from 
this  time  his  health  began  to  fail,  and  it  is  not  probable  that  he 
painted  anything  in  France.  At  the  time  of  his  death  he  had 
accompanied  the  court  to  Fontainebleau,  and  expired  in  the  arms  of 
the  King,1  in  the  seventy-fifth  year  of  his  age.  This  is  the  account 
given  by  Vasari,  and  confirmed  by  contemporary  writers.  It  is 
supposed  that  he  left  many  literary  works.  A  good  part  of  these 
had  been  written  for  the  Acad.  in  Milan,  and  many  of  them  are 
preserved  in  the  different  libraries  of  Europe  in  manuscript  form. 
His  letters  and  other  writings  are  easily  recognized,  as  he  wrote 
from  right  to  left.  His  best  known  work  is  the  "  Trattato  della 
Pittura,"  which  has  been  translated  into  English.  As  an  engineer, 
his  canal  of  the  Martesana  was  sufficient  to  establish  a  reputation. 
As  an  artist  he  may  be  called  the  poet  of  painters.  His  works  com- 
bined grandeur  of  design,  and  harmony  of  expression,  with  minute 
finish,  and  if  he  was  surpassed  by  those  who  followed  him,  it  should 
be  remembered  that  it  is  easier  to  advance  in  a  path  once  opened, 
than  to  discover  the  path.  Personally  he  was  very  much  beloved. 
Living  in  a  time  of  great  intrigue  and  gallantry,  possessed  of  attrac- 
tive person,  talents,  and  accomplishments,  his  general  conduct  was 
marked  by  propriety  and  morality.  He  seldom  painted  nude  figures. 
When  he  did  so  their  attitudes  were  modest,  and  his  pictures  free 
from  all  indecency.  He  had  advanced  the  progress  of  science, 
was  a  generous  patron  and  affectionate  friend,  and  seemed  scarcely 
to  desire  anything  beyond  the  advancement  of  art.  There  are 
good  reasons  for  believing  that,  in  addition  to  his  other  works, 
he  sometimes  etched,  or  engraved  on  copper.  In  the  British  Mus. 
are  the  following,  two  of  which  are  thought  to  be  undoubtedly  his 
work :  — 

The  Bust  of  a  Young  and  Beautiful  Female. 

Study  of  Heads  of  three  Horses. 

A  large  print  of  a  lady  in  a  rich  dress. 

Of  the  works  of  Leonardo  which  remain,  the  "  Last  Supper  "  is, 
of  course,  the  greatest.  Besides  this  there  are  many  excellent 
originals  at  Milan  and  in  the  surrounding  country.  In  the  Am- 
brosian  Gall,  at  Milan  is  a  series  of  very  interesting  small  works. 
Among  them  are  the  portraits  of  Ludovico  and  his  wife,  in  oil.  It 
has  been  difficult  to  decide  which  are  the  pictures  of  Leonardo,  and 
which  those  of  his  pupils,  but  the  following  are  called  those  of  the 
master :  — 

In  the  Louvre,  S.  John  the  Baptist,  half-length;  the  Virgin  and 
Child,  with  S.  Anne;  a  group  known  as  "  La  Vierge  aux  Rochers; " 
1  Not  well  authenticated. 


VINCI.  611 

Portrait  of  a  Woman,  bust;  Portrait  of  Mona  Lisa,  called  "La 
Joconde;  "  and  a  Bacchus. 

In  the  Gall,  of  the  Hague  is  a  picture  called  a  "  Charity,"  which 
is  supposed  to  have  represented  a  Leda,  and  to  have  been  painted 
over  from  motives  of  decorum. 

In  the  Gall,  of  the  Uffizi  is  a  large  "  Adoration  of  the  Kings," 
so  unfinished  that  it  may  be  called  a  cartoon. 

In  the  Sciarra  Pal.,  at  Rome,  is  a  picture  of  "  Modesty  and  Vanity ," 
which  is  very  beautiful.  One  of  the  best  old  copies  of  the  "  Last 
Supper  "  is  in  the  Royal  Acad.  of  London.  It  was  made  by  Marco 
d'Oggione,  about  1510,  and  must  give  a  good  representation  of  the 
picture  in  its  original  state. 

ENGRAVINGS   AFTER   THE   WORKS   OF   DA   VINCI. 

Engraver,  BENAGLIA,  Giuseppe.  Madonna  and  Child,  with  a 
Lamb  and  S.  Anne. 

Engraver,  BERNARDI,  Jacopo.  The  Virgin  nursing  the  Child,  who 
holds  a  Pigeon  in  one  Hand.  Same  subject,  different  engraving. 

Engraver,  BLOT,  Maurice.  Vanity;  from  the  picture  of  Vanity 
and  Modesty. 

Engraver,  BRIDOUX,  Fran9ois  Eugene  Augustin.  La  Belle  Fer- 
roniere.  La  Belle  Ferroniere,  another  engraving. 

Engraver,  CAMPANELLA,  Angelo.     Vanity  and  Modesty. 

Engraver,  DESNOYERS,  Louis  Augustin  Boucher.  La  Vierge  aux 
Rochers. 

Engraver,  EDELINCK,  Gerard.  Combat  of  four  Horsemen  for  the 
Standard. 

Engraver,  FELSING,  Jacob.    Mater  Dolorosa. 

Engraver,  FORSTER,  Francois.     La  Vierge  au  Bas-relief. 

Engraver,  FRANCK,  Joseph.     The  Madonna  with  a  Flower. 

Engraver,  GARNIER,  Francois.  La  Vierge  aux  Balances.  Bac- 
chus. 

Engraver,  JANOTA,  John  George.     Christ  bearing  his  Cross. 

Engraver,  JUSTER,  Joseph.  Virgin  and  Child,  both  holding 
Flowers. 

K/if/raver,  LEROUX,  Jean  Marie.     Leda. 

Engraver,  LONGHI,  Giuseppe.     Madonna  di  S.  Onofrio. 

Engraver,  MARRI,  Giuseppe.     Madonna  di  S.  Onofrio. 

Engraver,  MASSARD,  J.  B.  Raphael  Urbain.     La  Gioconda. 

Kngraver,  MICHEL,  Jean  Baptiste.     La  Gioconda,  undraped. 

Engraver,  MORGHEN,  Rafaello.  The  Last  Supper.  Head  of 
Christ.  Leonardo  da  Vinci. 

Engraver,  MULLER,  John  Gotthard  von.  S.  Catherine,  with  two 
Angels;  probably  by  a  pupil  of  Leonardo. 

Engraver,  REINDEL,  Albrecht  Christoph.  Madonna  of  Count 
Schonborn  at  Pommersfelden. 


612  VINCI  —  VIS  CHER. 

Engraver,  RICCIANI,  Antonio.     Magdalene. 

Engraver,  ROMANET,  Antoine  Louis.  La  Colombine,  also  called 
Flora. 

Engraver,  STEINMULLER,  Joseph.  Virgin  and  Child  with  SS. 
Catherine  and  Barbara. 

Vinckenboons,  David,  born  at  Mechlin  (1578-1629).  A  painter 
of  landscapes  and  scenes  from  peasant  life.  An  imitator  of  the 
Breughels.  His  works  are  seen  in  German  galleries,  but  little  can 
be  said  in  their  praise. 

Vischer,  Hermann.  In  1457  this  old  sculptor  carved  the  small 
figures  of  the  Apostles  on  the  font  in  the  ch.  of  Wittenberg. 

Vischer,  Peter.  Son  of  the  preceding,  and  far  more  important. 
He  was  admitted  as  a  master  in  1489.  Five  years  later  he  was  sum- 
moned to  Heidelberg,  together  with  Simon  Lamberger,  to  assist  the 
Elector  Philip  with  his  advice  and  skill.  We  know  nothing  of  what 
he  did  there.  Peter  was  assisted  by  five  sons;  Peter,  admitted  a 
master  in  the  thimble  trade  in  1527,  Hans,  called  "the  caster," 
Hermann,  who  went  to  Italy  and  brought  home  models  and  designs, 
Jacob,  and  Paul.  The  father,  Peter,  died  in  1529,  and  his  sons 
probably  did  not  survive  him  more  than  eleven  years.  The  most 
that  can  be  known  of  the  life  of  Peter  Vischer  is  the  artistic  prog- 
ress which  is  revealed  by  the  monogram  and  dates  which  he  placed 
upon  his  works;  but  these  tell  a  full  tale  of  thought,  study,  industry, 
and  the  growth  which  is  their  reward.  His  earliest  known  work  is 
the  monument  of  Archbishop  Ernst  in  the  Magdeburg  Cath.;  it  be- 
longs to  1495,  and  that  of  Bishop  Johann,  in  the  Cath.  at  Breslau, 
was  done  in  the  next  year.  These  works  are  the  legitimate  products 
of  the  Nuremberg  school.  They  are  like  Wolgemuth  and  Kraff't,  and 
yet  there  is  a  beauty  in  them,  and  a  power,  which  foretells  his  future 
excellence.  This  is  especially  true  of  the  Apostles  on  the  sides  of 
the  sarcophagus  at  Magdeburg.  From  the  completion  of  these  monu- 
ments we  are  without  the  knowledge  of  his  works  for  ten  years. 
During  this  time  he  must  have  studied  hard,  as  is  seen  in  the  eleva- 
tion of  his  powers  as  displayed  in  the  great  work  of  his  life,  the 
Tomb  of  S.  Sebald,  at  Nuremberg.  He  was  engaged  on  this  from 
1508  to  1519.  The  bones  of  the  patron  saint  were  enclosed  in  a 
sarcophagus  of  the  Middle  Ages,  and  the  task  set  our  sculptor  was  to 
erect  a  fitting  tomb  for  these  honored  relics.  All  his  powers  were 
given  to  it,  and  the  result  is  one  of  the  finest  monuments  of  the  plas- 
tic art  of  his  age.  The  plate  given  shows  its  form.  There  is  the 
abundance  of  ornament  which  marked  the  manner  of  the  15th  cen- 
tury, but  examination  reveals  distinctness  and  beauty  in  every  detail, 
and  a  fitness  is  observed  in  every  part;  for  example,  if  we  compare 
the  statue  of  the  saint  and  that  of  Vischer  himself,  how  accurately 
is  each  suited  to  its  subject.  The  saint  in  his  flowing  drapery  and 
full  beard,  with  his  pilgrim's  staff  and  the  model  of  the  church,  ad- 


VISCHER. 


613 


vances  like  an  ideal  statue  of  the  holy  son  of  a  king,  such  as  he  was 
said  to  be.  It  expresses  power,  but  it  is  the  power  of  the  unseen. 
The  artist,  on  the  contrary,  with  his  leather  apron,  round  cap,  and 
realistic  German  face,  speaks  of  a  will  to  do,  and  a  power  to  execute, 
founded  largely  on  the  strength  so  well  expressed  in  his  robust  figure. 
The  four  reliefs  illustrating  scenes  from  the  saint's  life  are  on  the 


TOMB   OF   S.     SEBALD-      BY   P.    VISCHER. 

At  Nuremberg. 

substructure  upon  which  the  sarcophagus  rests;  they  are  in  the 
purest  style  of  relief  of  his  time.  All  this  is  in  the  centre  of  the 
monument,  which  is  surrounded  by  eight  pillars  supporting  a  balda- 
chin of  Romanesque  style;  between  the  pillars  are  graceful  candela- 
bra, and  the  whole  rests  on  the  shells  of  snails.  It  is  a  beautiful 
combination  of  the  decorative  and  GoMiic  styles.  But  the  chief 
beauty  of  all  is  in  the  figures  of  the  Apostles  which  are  placed  upon 


614 


VISCHER. 


the  pillars.  They  are  slender  in  proportion,  gracefully  draped,  and 
bearing  their  appropriate  emblems;  the  expression  of  each  won- 
derfully suited  to  the  character,  and  the  whole  perfectly  free  from 
the  realism  of  his  earlier  works.  Above  these  are  twelve  figures 
of  Prophets  and  other  Biblical  personages;  Perseus  and  Hercules 
appear  among  the  lower  figures,  while  Strength,  Moderation,  Pru- 
dence, and  Justice  are  also  personified.  The  centre  and  highest 
dome  (of  which  there  are  three)  is  crowned  by  a  figure  of  the  Infant 
Christ.  Besides  all  these  the  various  ornamental  designs  in  different 
parts  are  almost  inriumerable;  there  are  harpies,  sirens,  satyrs, 
fauns,  and  the  richest  abundance  of  fantastic  and  natural  life.  Liibke 
says,  "  Never  has  a  work  of  German  sculpture  combined  the  beauty 
of  the  South  with  the  deep  feeling  of  the  North  more  richly,  more 


RELIEF  FROM  THE  TOMB  OF  S.  SEBALD. 

At  Nuremberg. 


BY  P.   VISCHER. 


thoughtfully,  and  more  harmoniously. "  Vischer  and  Ghiberti  seem 
to  have  breathed  the  same  spirit  of  purity  and  noble  feeling.  We 
have  given  so  much  space  to  this  description  that  we  can  only  name 
his  later  works,  and  say  that  they  are  of  the  same  pure  style,  with 
occasionally  more  exquisite  finish.  They  are  two  casts  of  a  relief  of 
the  "Crowning  of  the  Virgin,"  in  the  churches  of  Wittenberg  and 
Erfurt;  a  relief  of  "  Christ  meeting  the  Sisters  of  Lazarus,"  in  the 
Cath.  of  Ratisbon  ;  a  relief  of  the  u  Entombment,"  in  the  JEgidien- 
kirche  at  Nuremberg;  a  monument  to  Card.  Albrecht  von  Branden- 
burg, in  the  ch.  at  Aschaffenburg,  and  a  monument  to  the  Elector, 
Frederick  the  Wise,  in  the  castle  ch.  of  Wittenberg.  No  other  works 
are  authentically  known  to  be  his;  some  others  are  in  dispute,  and  by 
many  believed  to  be  either  entirely  or  partly  by  his  hand.  His  sons, 


VISCHER  —  VOLPATO.  615 

Hermann  and  Johann,  executed  a  few  monuments  which  are  not 
equal  to  the  works  of  the  father,  yet  partake  largely  of  his  style. 

Visscher,  Cornelius,  born  at  Haerlem  (1610-1670).  An  eminent 
engraver,  whose  prints  are  somewhat  numerous  and  very  much  es- 
teemed. Proofs  of  the  best  are  very  rare  and  expensive.  He  stud- 
ied under  Peter  Soutman.  His  engravings  after  his  own  designs 
are  better  than  those  after  other  masters.  The  portrait  of  Gellius  de 
Bouma,  the  "  Pancake  Woman,"  and  the  "Rat  Catcher"  are  very 
perfect. 

Visscher,  Jan.  Flourished  about  1650.  Younger  brother  of 
Cornelius,  and  a  good  engraver,  whose  plates  are  well  esteemed. 
He  used  the  point  more  than  the  former,  and  his  manner  of  etching 
is  very  picturesque.  There  were  several  other  less  important  en- 
gravers of  the  same  name  and  family. 

Vite  or  Viti,  Timoteo  della,  born  at  Urbino  (1470-1523).  He 
executed  some  pleasing  pictures  before  he  joined  the  school  of 
Raphael,  but  under  his  influence  he  acquired  new  grace.  A  "  Mag- 
dalene," in  the  Bologna  Gall.,  is  very  attractive;  his  works  are  rare. 
He  was  also  distinguished  as  a  miniature  painter. 

Vivares,  Francis,  born  at  Montpellier  (1712-1782).  This  en- 
graver is  especially  distinguished  for  his  fine  engravings  after  the 
landscapes  of  Claude  Lorraine.. 

Vivarini,  Antonio.  This  artist  is  called  Da  Murano,  from  the 
island  of  that  name.  He  flourished  about  the  middle  of  the  15th 
century.  His  pictures  are  soft,  and  well  blended  in  color.  Bar- 
tolommeo  was  probably  a  younger  brother.  His  works  are  seen  in 
the  churches  of  Venice ;  their  chief  excellence  is  the  expression  of 
his  sacred  figures.  Luigi  was  a  still  younger  man  of  the  same  family. 
His  works  are  much  better  than  those  of  the  elder  Vivarini;  they  are 
seen  frequently  in  Venice,  and  a  Madonna  enthroned,  with  several 
saints,  is  in  the  Berlin  Museum. 

Vlieger,  Simon  de,  born  at  Amsterdam.  Flourished  1635-1650. 
His  best  works  are  very  excellent.  A  cabinet,  Munich  Gall.,  rep- 
resenting a  storm  at  sea,  is  a  masterpiece.  His  works  did  not 
receive  the  praise  they  merited  for  a  long  time ;  now  he  is  reckoned 
among  the  good  masters  in  his  branch  of  painting.  His  views  often 
include  landscape  and  water.  They  are  in  the  Louvre,  Amsterdam, 
Dresden,  and  Munich  galleries,  and  some  are  in  England.  Bartsch 
gives  a  list  of  twenty  excellent  etchings  also  by  this  master. 

Vliet,  Hendrik  van  (1608-1659).  A  few  pictures  of  this  artist 
are  known.  He  painted  the  interiors  of  churches  and  genre  subjects 
by  lamplight. 

Vois,  Ary  de  (1641-1698).  An  artist  especially  remarkable  for 
his  minute  finish.  His  works  are  in  several  large  Continental  gal- 
leries. 

Volpato,    Gio.,  born  at  Bassano  (about    1738-1802)      This   en- 


616  VOLPATO  —  WALDO. 

graver  is  chiefly  distinguished  for  his  set  of  colored  prints  from  the 
works  of  Raphael  in  the  Vatican.  He  also  made  a  set  of  the  most 
remarkable  views  near  Rome,  and  did  other  considerable  works. 

Volterra,  Daniele  da,  real  name  Ricciarelli  (1509-1566).  The 
best  scholar  of  Michael  Angelo.  He  made  himself  distinguished  by 
his  grand  "  Descent  from  the  Cross,"  in  the  Trinita  de'  Monti,  at 
Rome,  which  has  become  one  of  the  well-known  pictures  to  all  the 
world.  Other  works  of  his  are  a  "  Baptism  of  Christ,"  in  S.  Pietro 
in  Montorio,  Rome;  a  double  picture  of  "  David  and  Goliath,"  giv- 
ing two  points  of  view,  in  .the  Louvre;  it  is  on  slate;  and  was  long 
attributed  to  Michael  Angelo;  a  "  Massacre  of  the  Innocents,"  in  the 
Uffizi,  is  also  a  very  celebrated  work  of  his. 

—  —          Vorsterman,  Lucas,  the  Elder,  born  at  Antwerp  about 

I/       1580.     This  eminent  engraver  first  studied  painting  under 

•  ^  Rubens;  in  later  times  no  engraver  so  perfectly  repro- 
duced the  works  of  that  master  as  did  Vorsterman.  He  was  a 
wonderfully  skilful  artist,  but  when  he  attempted  to  reproduce  the 
works  of  Raphael,  he  did  not  succeed  in  giving  their  delicate  beauty ; 
his  work  was  better  suited  to  Rubens  and  Caravaggio.  He  went  to 
England  and  remained  eight  years,  and  made  some  excellent  prints 
after  the  portraits  of  Vandyck. 

Vos,  Martin  de,  born  at  Antwerp  .(1531-1603).  The  best  pupil 
of  Frans  Floris.  He  also  studied  under  Tintoretto  at  Venice,  and 
on  his  return  to  Antwerp  established  a  school.  The  Antwerp  Mus. 
has  a  series  of  his  works.  In  color  and  dramatic  effect  he  sometimes 
seems  to  have  been  the  forerunner  of  Rubens.  His  muscular  exag- 
gerations are  less  marked  than  those  of  Floris,  and  his  finish  is 
careful ;  yet  he  is  cold  in  feeling,  and  mannered  in  motive. 

Vouet,  Simon,  born  at  Paris  (1590-1649).  He  seems  to  have 
formed  his  style  from  Caravaggio  and  Paul  Veronese.  He  travelled 
much,  made  a  great  reputation,  and  was  appointed  President  of  the 
Acad.  of  S.  Luke,  at  Rome.  In  1627  he  was  called  home  by  Louis 
XII I.,  and  apartments  in  the  Louvre  were  assigned  to  him.  He  can 
scarcely  be  called  anything  but  a  machinist.  Among  his  pupils  were 
some  of  the  best  French  painters,  Le  Brun,  Le  Sueur,  Pierre  Mign- 
ard,  Dufresnoy,  etc. 

Vries,  Adrian  de.  This  sculptor  was  a  pupil  of  Gio.  da  Bologna, 
and  carved  the  Hercules  fountain  at  Augsburg,  in  1599. 

w. 

Wagner,  Hans,  called  Hans  von  Kulmbach,  died  1540.  Pupil  of 
Albert  Diirer,  to  whose  style  he  faithfully  adhered.  His  best  works 
are  in  Nuremberg,  and  are  very  remarkable.  The  Munich  Gall., 
and  the  Stadel  Institute,  at  Frankfort,  have  a  few  of  his  pictures. 

Waldo,  Samuel,  born  in    Windham,    Connecticut  (1783-1861). 


WALDO  —  WATTEAU.  617 

After  sundry  ups  and  downs,  Waldo  went  to  London  in  1806,  where 
he  was  befriended  by  West,  Copley,  and  Fulton,  and  painted  many 
portraits.  After  his  return  to  America  he  met  with  good  success, 
and  some  of  his  pictures  are  in  the  City  Hall,  New  York,  and  some 
in  the  Gall,  of  the  Historical  Society  of  that  city. 

Walscapelle,  Jacob.  Flourished  about  1670.  Nothing  is  known 
of  him  except  his  name  and  the  dates  on  his  admirable  flower  pieces, 
which  arc  in  the  manner  of  De  Heem.  His  works  are  rare. 

Ward,  James,  born  in  London  (1769-1859).  The  best  animal 
painter  of  England.  His  picture  of  an  "  Alderney  Bull,  Cow,  and 
Calf  "  is  only  rivalled  by  such  works  as  Paul  Potter's  "  Young  Bull," 
at  the  Hague.  It  is  said  that  Ward  painted  it  in  emulation  of  the 
last-named  work.  It  was  done  in  1820-1822,  and  is  in  the  National 
Gall. 

"Waterloo  or  Wa- 


posed)  about  1618.  There  are  a  few  paintings  called  by  his  name, 
but  it  is  a  matter  of  doubt  if  any  are  positively  known.  It  is  said 
that  he  was  a  good  painter,  but  his  fame  rests  on  his  etchings.  They 
are  very  much  esteemed.  Bartsch  has  minutely  described  136,  and 
Weigel  and  the  Messrs.  Smith  have  followed  up  the  inquiry,  and 
added  somewhat  to  the  information  of  Bartsch.  Among  them  all 
the  following  are  especially  admired  :  — 

A  set  of  six  upright  Landscapes,  among  which  is  the  celebrated 
"Water-mill." 

A  set  of  six  Landscapes  with  subjects  from  Fables;  such  as 
"  Apollo  and  Daphne,"  the  "  Death  of  Adonis,"  "  Pan  and  Syrinx," 
etc. 

A  set  of  six  Landscapes,  with  subjects  from  the  Old  Testament 

Watteau,  Antoine,  born  at  Nogent-sur-Marne  (1684-1721). 
This  distinguished  artist  enriched  the  world  of  pictures  with  much 
cheerful  beauty  in  his  fetes-champetres  and  merry  out-of-door  scenes, 
and  gave  us  the  best  ideas  of  the  court  life,  dress,  and  manners  of  the 
time  of  Louis  XIV.  His  aims  as  an  artist  were  not  high,  and  he  ac- 
complished the  task  he  set  himself,  in  a  manner  that  entitles  him  to 
a  good  rank  among  painters.  His  color  resembles  that  of  Paul 
Veronese. 

ENGRAVINGS    AFTER    THE    WORKS    OF    WATTEAU. 

Engraver,  AUDRAN,  Benoit,  the  Younger.     Dance  of  Peasants. 
Engraver,  CARS,  Laurent.     Fetes  Venitiennes. 
Engraver,  COCHIN,  Charles  Nicolas,  the  Younger.     La  Mariee  de 
Village. 

Engraver,  MOYREAU,  Jean.     La  Collation. 
Engraver,  SCOTIN,  Louis  Gerard.     Les  Plaisirs  du  Bal. 


618  WEENIX  —  WEST. 

Weenix,  Jan  Baptist,  born  at  Amsterdam  (1623-1660).  This 
remarkable  animal  painter  was  solid  in  his  execution,  brilliant  in 
lighting,  and  clear  in  chiaro-scuro ;  occasionally  he  was  gaudy,  but 
all  in  all  he  was  the  most  eminent  of  the  group  of  Dutch  painters  to 
which  he  belonged.  Some  of  his  best  works  are  seen  in  the  Munich 
cabinets.  A  Seacoast  with  a  repulse  of  Turkish  pirates,  in  the  Louvre, 
is  noticeable  for  its  lighting. 

Weenix,  Jan,  born  at  Amsterdam  (1644-1719).  Son  and  pupil 
of  the  preceding.  His  works  mostly  represent  dead  animals,  life- 
size.  He  especially  excelled  in  dead  hares,  and  these  are  the  pictures 
on  which  his  fame  rests;  they  are  frequently  painted  with  birds  and 
other  game,  and  rarely  a  living  dog  is  introduced.  His  masterly 
works  are  at  the  Louvre,  Munich,  Hague,  Amsterdam,  and  Berlin 
galleries. 

Werff,  Adrian  van  der,  born  near  Eotterdam  (1659-1722).  This 
artist  pursued  the  ideal  in  the  midst  of  the  realistic  school  of  his 
country,  and  became  famous  by  his  works.  His  execution  was  won- 
derfully smooth,  his  forms  were  beautifully  elegant,  but  his  grouping 
is  artificial  and  unpleasant,  his  whole  tone  cold  and  heavy,  with  a 
lack  of  feeling  running  through  all.  But  his  works  were  much  ad- 
mired, and  he  could  not  find  time  to  execute  the  orders  he  received. 
His  figures  are  mostly  small.  Munich  is  rich  in  his  works,  and  they 
are  seen  in  several  large  galleries. 

Werff,  Pieter  van  der,  born  at  Rotterdam  (1665-1718).  Brother, 
pupil,  and  assistant  of  Adrian.  He  so  often  copied  the  pictures  of 
Adrian,  and  so  adopted  his  style,  that  it  is  sometimes  difficult  to  dis- 
tinguish between  their  works.  But  Pieter  was,  in  truth,  much  the 
weaker  of  the  two.  Three  of  his  works  are  in  the  Amsterdam  Mus. 

West,  Benjamin,  born  at  Springfield,  Pennsylvania  (1738-1820). 
The  story  of  his  early  love  for  painting,  of  the  gift  of  a  paint  box 
which  he  received,  of  his  truancy  and  first  picture  in  his  mother's 
garret,  etc.,  is  too  well  known  to  be  repeated.  At  eighteen  he  was 
established  as  a  portrait  painter  in  Philadelphia.  By  the  kindness  of 
appreciative  friends  in  that  city  and  in  New  York  he  was  enabled  to 
go  to  Italy,  and  at  length  went  to  England  in  1763.  From  this  time 
he  advanced  steadily  and  received  many  honors,  being  made  a  mem- 
ber of  the  Academies  of  Florence,  Parma,  and  Bologna,  and  finally 
President  of  the  Royal  Acad.  of  England.  He  received,  instructed, 
and  befriended  the  young  American  artists  who  went  to  England,  and 
led  a  life  of  honorable  comfort.  He  was  not  intense  in  his  nature, 
and  his  experience  brought  no  trials  to  develop  and  strengthen  his 
spirituality.  His  life  was  one  of  regular,  orderly  industry  and  success. 
His  pictures  are  a  legitimate  result  of  such  an  experience,  and  while 
there  is  much  to  admire,  while  we  may  be  very  proud  of  him  as  an 
early  American  artist,  there  is  nothing  in  his  creations  to  stir  our 
wouls  while  we  regard  them,  or  to  make  a  living  recollection  when  we 


WEST.  619 

turn  away.  He  was  highly  connected  in  England;  his  great-grand- 
father was  the  friend  of  Penn;  his  father  was  one  of  the  early  cham- 
pions of  emancipation,  and  his  antecedents  seemed  just  fitted  to  lead 
up  to  the  kingly  favor  which  he  so  long  enjoyed  and  which  secured 
to  him  his  baronetcy,1  prosperity,  and  happy  old  age ;  and  if  the  wide 
difference  between  his  cottage  birthplace  and  his  cathedral  tomb  (he 
was  buried  in  S.  Paul's)  seems  at  first  glance  surprising,  the  knowl- 
edge of  the  path  which  led  from  his  "  cradle  to  his  grave  "  dissipates 
our  wonder.  His  rewards  were  but  the  just  result  of  the  fortunate 
circumstances  which  placed  them  in  his  way,  and  his  unswerving  in- 
dustry and  continuous  effort  to  merit  them.  His  works  were  very 
numerous,  and  have  been  estimated  as  high  as  3000.  Many  of  his 
early  portraits  are  possessed  by  the  descendants  of  those  for  whom 
they  were  painted,  and  are  in  different  parts  of  the  country.  His 
"  Lear  "  is  in  the  Boston  Athenaeum;  his  "  Hamlet  and  Ophelia"  in 
the  Coll.  of  Mr.  Longworth  of  Cincinnati ;  "  Christ  Healing  the  Sick  " 
is  in  the  Pennsylvania  Hospital,  and  the  "Rejected  Christ"  is 
owned  by  Mr.  Harrison  of  Philadelphia.  But  the  larger  part  of  his 
works  are  in  England.  There  are  good  portraits  of  him  in  America; 
two  are  in  the  Boston  Athenaeum,  painted  by  Leslie  and  Allston,  and 
a  full-length  by  Sir  Thomas  Lawrence  is  in  the  Wadsworth  Gall., 
Hartford,  Conn.  West  was  the  discoverer  of  the  principle  of  the 
camera  obscura,  which  was  suggested  to  him  by  watching  the  effect 
of  the  light  which  came  through  a  crevice  in  a  closed  shutter  of  his 
sick-room.  He  had  an  eminently  thoughtful  and  practical  mind, 
and  there  is  much  interest  and  many  useful  lessons  in  the  story  of 
his  life  as  presented  by  his  biographer,  John  Gait. 

ENGRAVINGS   AFTER    THE   WORKS   OF   B.   WEST. 

Engraver,  BARTOLOZZI,  Francesco.  Cornelia,  Mother  of  the  Grac- 
chi. S.  Paul  at  Malta. 

Engraver,  BASIRE,  James.     Orestes  and  Pylades  before  Iphigenia. 

Engraver,  DUNKARTON,  Robert.      Martyrdom  of  S.  Stephen. 

Engraver,  EARLOM,  Richard.  Portrait  of  Thomas  Newton,  Bishop 
of  Bristol.  Portrait  of  Sir  Edward  Astley,  Bart.  Angelica  and 
Medora.  Cupid  stung  by  a  Bee. 

Engraver,  GREEN,  Valentine.  The  Stoning  of  Stephen;  very 
fine;  1776.  Raising  of  Lazarus.  Christ  receiving  little  Children. 
Peter  denying  Christ.  Jacob  blessing  the  Sons  of  Joseph;  1768. 
Daniel  interpreting  Balthasar's  Dream;  1777.  Nathan  said  unto 
David,  "  Thou  art  the  Man; "  1784.  SS.  Peter  and  Paul  going  to  the 
Sepulchre.  Three  Maries  at  the  Sepulchre.  Alexander  and  his 
Physician.  Regulus  leaving  Rome  for  Carthage.  Hannibal  vowing 
Eternal  Hatred  to  the  Romans.  Marc  Antony's  Oration  on  the 
Death  of  Caesar.  Agrippina  weeping  over  the  Urn  of  Germanicus. 
Death  of  Epaminondas.  Death  of  the  Chevalier  Bayard. 

1  An  honor  which  he  did  not  accept. 


620 


WEST  —  WEYDEN. 


Engraver,  HALL,  John.     William  Perm  treating  with  the  Indians 

for  the  Province  of  Pennsylvania.     Oliver  Cromwell  dissolving  the 

Long  Parliament.     Death  of  Schomberg  at  the  Battle  of  the  Boyne. 

Engraver,   MICHEL,   Jean   Baptiste.      Cupid    stung    by   a    Bee. 

Alfred  dividing  his  last  Loaf  with  a  Pilgrim.     Continence  of  Alfred. 

Engraver,  SHARP,  Will- 
iam. The  Witch  of  E  ndor. 
Alfred  dividing  his  Loaf 
with  a  Beggar.  Lear  in  the 
Storm.  Portrait  of  Samuel 
Moore. 

Engraver,  SMITH,  Ben- 
jamin. Christ  healing  the 
Sick.  S.  Peter's  first  Ser- 
mon. 

Engraver,  STRANGE,  Sir 
Robert.  The  Apotheosis 
of  two  children  of  George 
III.,  who  died  in  infancy; 
1787. 

Engraver,  WOOLLETT, 
William.  Death  of  General 
Wolfe.  Battle  of  La  Hogue. 
Westmacott,  Richard 
(1799-1872).  This  sculptor 
and  writer  on  art  retired 
from  the  active  duties  of 
his  profession  several  years 
before  his  death,  but  made 
himself  useful  as  a  lecturer 
and  writer.  He  published 
"The  Handbook  of  An- 
cient and  Modern  Sculp- 
ture"  in  1864.  He  was 
elected  an  Associate  of  the 
Royal  Acad.  in  1838,  and 
an  Academician  in  1849. 
His  works  are  well  known. 
Among  them  the  following 
may  be  mentioned :  "  David 
holding  the  Head  of  Goli- 
ath," the  "  Cymbal  Player," 
the  "  Guardian  Angel," 
"  Go  and  sin  no  more," 
u Paolo  and  Francesca,"  and  "Resignation." 
Weyden,  Rogier  van  der,  the  Elder.  Pupil  of  Jan  van  Eyck 


THE  SIBYL  AND  THE  EMPEROR  AUGUSTUS. 
BY   ROGIER   VAN   DER  WEYDEN. 

In  the  Berlin  Mus. 


WEYDEN  —  WILKIE.  621 

born  at  Brussels;  flourished  in  the  first  half  of  the  15th  century. 
He  was  official  painter  to  the  city  of  Brussels  in  1436;  in  1449  he 
went  to  Italy ;  he  died  in  1464,  and  was  buried  in  the  Cath.  of  Brus- 
sels. He  is  remarkable  among  the  painters  of  his  time,  but  his  devo- 
tion to  positive  truth  in  representation  leads  him  to  be  tasteless  and 
unattractive;  his  figures,  thin,  with  long,  ill-formed  hands  and  feet, 
are  especially  displeasing.  He  diligently  represented  the  symbolic 
subjects  of  the  Middle  Ages.  A  goodly  number  of  his  works  remain, 
and  are  in  large  galleries,  where  they  are  easily  seen,  and  we  have 
not  space  for  a  description.  The  most  remarkable  one  is  the  "  Last 
Judgment,"  in  the  Hospital  at  Beaume ;  it  is  the  most  comprehen- 
sive of  his  remaining  works,  and  adheres  strictly  to  the  traditions  of 
his  time  in  arrangement  and  motive.  The  Stadel  Institute,  at  Frank- 
fort, has  the  "  Virgin  and  Child,  with  SS.  Cosmo  and  Damian."  The 
Berlin  Mus.,  the  Munich  Gall.,  the  Antwerp  Mus.,  and  the  Hague 
Gall.,  all  have  interesting  examples  of  his  pictures.  Rogier  van  der 
Weyden  was  also  a  fine  miniaturist.  His  influence  upon  the  art  of 
his  age  was  equal  to  that  of  any  other  masters,  the  Van  Eycks  not 
excepted  Hans  Memling  was  his  pupil,  and  he  became  the  greatest 
master  in  Belgium  in  the  next  generation. 

Weyden,  Rogier  van  der,  the  Younger.  Son  of  the  preceding. 
He  became  very  rich,  was  very  benevolent,  and  died  at  Brussels  in 
1529.  But  few  works  of  his  are  in  public  galleries;  these  are  at 
Miulrid,  Naples,  Brussels,  and  Berlin.  A  "  Descent  from  the  Cross," 
of  his  early  time,  a  small  altar-piece,  is  in  the  Liverpool  Institution. 
His  drawing  was  very  careful,  and  there  is  much  pathos  in  his  repre- 
sentations of  the  Virgin,  in  which  he  especially  delighted. 

Weyden,  Go  a  win  van  der.  A  relative  of  the  preceding,  and 
also  an  artist.  Two  pictures  by  him  are  in  the  Brussels  Gall. 

TT     IV"  7"        Wierix  or  Wierinx,  John,  born  in  Amsterdam, 

I-M  yy  1550.  The  most  eminent  of  the  three  engravers  by 
this  name ;  the  others  were  Hieronymus  and  Anthony. 
John  imitated  Albert  Diirer  perfectly,  and  copied  some  of  his  etch- 
ings with  wonderful  exactness.  His  prints  are  much  esteemed, 
especially  by  collectors  of  the  curious. 

Wilkie,  Sir  David,  born  in  Fife  County,  Scotland  (1785-1841). 
Son  of  a  Scotch  clergyman,  who  was  greatly  disappointed  that  his 
son  would  be  a  painter.  At  fourteen  he  was  sent  to  Edinburgh  to 
the  Trustees'  Acad.,  where  he  remained  five  years.  In  1804,  on  his 
return  to  his  home,  he  painted  the  picture  called  "  Pitlessie  Fair." 
The  personages  represented  were  mostly  the  villagers  about  him; 
by  .some  critics  it  is  considered  a  more  wonderful  piece  of  character 
painting  than  many  of  his  later  works.  In  1805  he  went  to  London; 
the  first  success  he  made  there  was  the  "  Village  Politicians."  Sir 
George  Beaumont  bought  it  and  ordered  another,  and  Lord  Mul- 
grave  also  became  his  patron.  From  this  time  his  story  is  but  that 


622  WILKIE  —  WOODVILLE. 

of  toil  and  success.  He  never  became  rich,  and  in  1825  his  health 
failed ;  he  travelled  from  one  country  to  another,  and  was  everywhere 
received  with  great  kindness  by  artists  and  art  lovers.  He  was 
particularly  impressed  with  the  art  of  Spain,  and  evidently  changed 
his  manner  from  the  time  of  his  visit  there.  In  1836  he  was 
knighted.  Wilkie  was  a  painter  of  domestic  scenes,  but  he  repre- 
sented that  side  of  life  which  calls  out  our  sympathies;  unlike 
Hogarth,  he  shows  us  the  joys  and  sorrows  of  life  rather  than  the 
ridiculous  view  of  it;  he  fixes  our  attention  on  what  we  have  heed- 
lessly passed  by  many  times.  His  u  Peep  o'  Day  Boy's  Cabin  "  is 
one  of  the  finest  of  his  later  works;  it  is  in  the  Vernon  Coll.  of  the 
South  Kensington  Mus.  "  Napoleon  and  the  Pope  in  Conference  at 
Fontainebleau,"  and  "  Wellington  writing  a  Dispatch  the  night  before 
the  Battle  of  Waterloo,"  were  exhibited  in  1836.  In  1840  he  went 
to  the  East  to  collect  materials  to  paint  a  Scripture  scene,  and  made 
many  sketches,  but  died  before  he  reached  home.  He  was  buried  at 
sea.  His  pictures  and  their  excellences  are  too  well  known  to  require 
any  word  of  praise  here. 

Willaerts,  Adam,  born  at  Antwerp  (1577-1640).  He  usually 
painted  coast  and  harbor  scenes;  sometimes  he  represented  fairs 
and  festive  gatherings.  His  works  have  considerable  merit  and  are 
seen  in  the  Antwerp  and  Berlin  museums. 

Wit,  Jacob  de,  born  at  Amsterdam  (1695-1754).  A  decorative 
painter  of  great  excellence.  His  works  are  seen  in  the  Hotel  de 
Ville  of  Amsterdam,  which  was  his  most  important  undertaking. 
He  loved  to  paint  pretty  children ;  these  are  seen  in  the  Cassel  and 
Dresden  galleries. 

Witte,  Emanuel  de,  born  at  Alkmaar  (1607-1692).  This  artist 
brought  to  perfection  the  painting  of  church  interiors.  His  lineal  and 
aerial  perspective,  and  his  chiaro-scuro  are  admirable,  and  his  broad, 
free  impasto  is  most  excellent.  His  works  are  in  the  Amsterdam  and 
Berlin  museums,  and  in  some  churches  of  the  former  city. 
.  %,  7  Wohlgemuth,  Michael,  born  at  Augsbourg  (1434- 

VV  1519).  The  chief  master  of  his  time,  and  the  teacher  of 
Albert  Dtirer.  His  works  are  very  unequal  in  all  except 
color;  this  is  always  clear  and  powerful.  This  is  accounted  for  by 
the  fact  that  he  left  much  to  his  assistants,  and  was  very  capricious 
in  his  own  labors.  His  best  remaining  works  are  in  the  Munich  Gall, 
and  in  the  chapel  of  S.  Maurice  at  Nuremberg.  There  have  been 
endless  discussions  about  Wohlgemuth  as  an  engraver,  and  there  is 
nothing  conclusive  known  about  it;  the  best  authorities  disagree,  and 
it  is  not  yet  established  whether  he  engraved  or  not. 

Woodville,  Richard  Caton,  born  in  Baltimore.  When  quite 
young  this  artist  went  to  Dusseldorf,  and  in  1847  sent  to  the  New 
York  Art  Union  "  The  Card-Players."  His  works  are  all  represen- 
tations of  homely  and  familiar  subjects.  They  are  seen  in  a  number 


WOODVILLE  —  WOUVERMANS.  623 

of  the  est  private  collections  in  America,  and  several  are  known 
by  engravings;  among  these  are  "  Old  '76  and  Young  '48,"  "The 
Card- Players,"  "  The  Politicians,"  etc.  He  died  in  London  in 
1855. 

Woollett,  William,  born  at  Maidstone  in  Kent  (1735-1785). 
This  artist  stands  at  the  head  of  the  best  landscape  engravers.  His 
works  embrace  a  wide  range  of  subjects.  The  two  most  admired  are 
the  "  Death  of  General  Wolfe  "  and  the  "  Battle  of  La  Hogue."  He 
was  the  first  one  to  unite  in  his  plates  the  three  styles  of  engraving, 
thereby  giving  a  just  effect  of  light  and  shadow,  and  producing  most 
admirable  optic  illusions.  Aquafortis,  the  burin,  and  the  dry  point, 
all  contributed  to  make  up  the  charming  effects  of  his  prints. 

Wouvermans,  Philip,  born  at  Haerlem  (1620- 
1668).  Pupil  of  Jan  Wynants,  whom  he  followed  in 
his  landscapes,  while  he  imitated  Pieter  van  Laer  in 
his  animals.  But  in  the  end  he  formed  an  independent  manner  of 
his  own,  which  far  exceeds  any  others  who  have  attempted  the  same 
subjects.  For  the  mass  of  light  he  usually  introduces  a  white  horse. 
He  had  much  picturesque  feeling,  animation,  and  tender  keeping, 
with  a  delicate  and  spirited  touch.  His  pictures  are  nearly  800  in 
number;  this  speaks  for  his  industry  and  facility  of  execution. 
Among  so  many  it  is  not  strange  that  there  should  be  great  inequali- 
ties and  much  monotony.  He  had  three  different  manners.  The 
first  was  characterized  by  heavy  horses  and  angular  figures;  this 
time  may  be  best  studied  at  Dresden.  In  his  second  manner  the 
horses  are  more  slender,  his  touch  is  firm,  and  the  color  warm,  clear, 
and  brilliant;  the  Hague,  Dresden,  and  Louvre  galleries  have  fine 
specimens  of  this  time.  About  1660  he  adopted  a  cool,  silvery  tone, 
while  his  touch  was  very  tender ;  and  a  wonderful  feeling  for  keeping 
adds  a  peculiar  charm  to  these  pictures.  The  much  admired  Hawk- 
ing scene,  at  Amsterdam,  is  a  fine  specimen  of  this  time,  and  there 
are  many  others.  His  works  are  seen  in  all  large  galleries. 

ENGRAVINGS   AFTER    THE   WORKS   OF   WOUVERMANS. 

Engraver,  ALIAMET,  Jacques.     The  Spanish  Halt. 

Engraver,  BAS,  James  Philip  le.  The  Italian  Chase.  The  Milk 
Pot.  The  Boar  Hunt. 

Engraver,  BOETIUS  or  BOECE,  Christian  Frederick.  Sportsmen 
at  the  Door  of  an  Inn. 

Engraver,  BOUTATS,  Gaspar.     A  Sutler's  Tent. 

Engraver,  CHEDEL,  Quintin  Pierre.  A  Landscape.  Figures  and 
Horses. 

Engraver,  DANCKERT  or  DANCKERS,  Dancker.  A  Set  of  fine 
Etchings. 

Engraver,  DAUDET,  John  Baptist.     A  Stag  Hunt. 


624  WOUVERMANS  —  WYNANTS. 

Engraver,  DURET,  Peter.     The  Country  Blacksmith. 

Engraver,  KOBELL,  William.  Cavaliers  and  Horses  at  the  Door 
of  an  Inn. 

Engraver,  LEMPEREUR,  Catherine  Elizabeth.  The  Dangerous 
Forest.  The  Rural  Labors. 

Engraver,  MAJOR,  Thomas.     The  Manege. 

Engraver,  MOITTE,  Peter  Stephen.  A  Halt  of  Travellers.  The 
Watering  Place. 

Engraver,  OZANNE,  Mary  Jane.     Two  Pastoral  Subjects. 

Engraver,  PELLETIER,  Jean.  The  Travellers.  Ladies  going  to 
the  Chase. 

Engraver,  PRESTEL,  Maria  Catherine.  Two  Landscapes,  with 
Horses. 

Engraver,  STRANGE,  Sir  Robert.  The  Return  from  Market;  one 
of  the  first  plates  he  published,  engraved  at  Paris;  1750. 

Engraver,  VISSCHER,  Jan.     Several  Landscapes,  etc. 

Wouvermans,  Peter  (1625-1683).  This  artist  so  often  closely 
resembles  his  brother,  that  his  works  are  attributed  to  the  elder. 
But  in  truth  his  tone  is  heavier  and  his  handling  less  free  than  that 
of  Philip. 

Wright,  Joseph,  born  at  Bordentown,  New  Jersey  (1756-1793). 
His  mother,  Patience  Wright,  was  in  the  habit  of  modelling  relievos 
in  wax,  and  had  considerable  imitative  skill,  as  some  of  her  works 
which  remain  fully  prove.  The  son  was  instructed  by  West,  and 
when  in  England  made  a  likeness  of  the  Prince,  who  was  afterwards 
George  IV.  He  was  sent  to  Paris  to  study,  and  was  under  the  care 
of  Dr.  Franklin.  Returning  to  America,  he  was  shipwrecked  and 
cast  upon  the  Spanish  coast.  He  at  length  reached  home  penniless. 
He  executed  several  portraits  of  Washington,  which  are  no  doubt 
authentic,  though  inelegant  and  unideal.  He  was  appointed  by 
Washington  as  draughtsman  and  die-sinker  at  the  United  States 
Mint  when  first  established,  and  in  all  probability  made  the  first 
medals  and  coins  ever  executed  in  America.  He  died  of  the  fearful 
pestilence  which  raged  in  Philadelphia  in  1793. 

Wynants,  Jan,  born  at  Haerlem  (1600-1677?).  This  great 
landscape  painter  is  only  known  by  his  works,  for  the  facts  of  his 
history  have  not  come  down  to  us.  His  pictures  have  great  vir- 
tues, but  are  monotonous  and  tiresome.  He  was  painfully  truthful ; 
truthful  in  detail,  in  outline,  in  everything.  His  color  is  clear  and 
bright.  He  painted  figures  badly,  and  in  his  best  works  they  were 
done  by  other  artists.  He  executed  with  such  care  that  his  pictures 
are  not  numerous  when  we  consider  the  length  of  time  he  painted; 
they  number  about  214.  His  works  are  seen  in  most  European  col- 
lections; they  are  much  liked  in  England  on  account  of  their  genuine 
naturalness. 


XAMETE  —  ZAGEL.  627 


Xamete  was  a  sculptor  who  is  known  only  by  the  magnificent 
portal  of  the  Cath.  cloister  at  Cuenca.  This  was  carved  between 
1546  and  1550,  of  Arcos  stone.  It  is  twenty-eight  feet  high,  sup- 
ported by  Corinthian  columns,  and  ornamented  with  cupids,  tritons, 
harpies,  etc.,  etc.,  as  well  as  with  statues  of  Judith  and  Jael,  S. 
John  and  the  Virgin,  and  bas-reliefs  of  the  Life  of  Christ. 

z. 

Zachtleven.     See  Sachtleven. 

Zagel,  Matthias.  Flourished  about  1500.  He  is  called  by  differ- 
ent authors  Zatzinger,  Zasinger,  and  Zinck.  From  the  style  of  his 
engraving  he  was  probably  a  goldsmith.  If  his  plates  were  not 
dated,  they  would  be  thought  earlier  than  those  of  Martin  Schoen. 
He  worked  with  the  graver  only,  in  a  neat  manner,  but  so  delicately 
that  his  plates  would  not  resist  many  impressions,  and  after  they 
were  retouched  the  prints  were  very  bad.  It  is  supposed  that  he 
worked  at  Munich.  He  also  painted,  and  in  connection  with  his  pic- 
tures was  called  Martin  Zagel.  A  picture  of  the  Crucifixion,  said 
to  be  by  him,  is  in  the  Vienna  Gall.,  and  is  a  simple  and  excellent 
work.  His  prints  are  very  scarce.  He  usually  marked  his  plates 
with  the  letters  M.  Z. ,  in  Gothic  character.  The  following  are  his 
principal  plates:  — 

Solomon's  Idolatry.     1501. 

S.  Catherine  with  the  Wheel. 

S.  Ursula. 

S.  Christopher  bearing  the  Infant  Christ. 

Martyrdom  of  S.  Sebastian. 

Socrates  and  Xantippe. 

A  Cavalier,  seated  in  a  Landscape,  entertaining  his  Mistress. 

A  March  of  Soldiers,  preceded  by  a  Drummer  and  a  Fifer. 

A  Lover  and  his  Mistress  embracing.     1505. 

An  Assembly  of  Courtiers,  called  «  The  Great  Ball." 

A  Tournament  in  the  Streets  of  Munich,  called  "  The  Great  Tour- 
. lament." 

In  addition  to  these,  Bartsch  mentions  the  following  :  — 

The  Decollation  of  John  the  Baptist. 

S.  Sebastian  pierced  with  Arrows. 

S.  George  encountering  the  Dragon. 

The  Martyrdom  of  S.  Barbe. 

S.  Catherine  reading. 

S.  Margaret  holding  a  Cross. 

Meditation  on  Death ;  represented  by  a  naked  woman  standing  on 
a  skull  and  holding  a  sun-dial. 


628  ZAMPIERI  —  ZURBAKAN. 

Zampieri.     See  Domenichino. 

Zeghers.     See  Seghers. 

Zeitblom,  Bartholomew.  Flourished  about  1495.  Very  little 
can  be  told  of  this  painter,  but  from  his  works  he  seems  to  have  been 
influenced  by  Martin  Schongauer.  The  Berlin  Mus.  is  the  only 
public  gallery  in  which  I  find  his  pictures.  A  head  of  S.  Anna,  No. 
561  B.,  and  No.  606  A.,  are  of  his  best  manner,  and  are  delicate  in 
feeling,  and  warm  and  pure  in  coloring. 

Zuccaro,  Taddeo  and  Federigo.  The  first  of  .these  brothers  died 
at  thirty-seven,  at  Rome,  in  1566,  and  was  buried  in  the  Pantheon, 
near  Raphael.  Federigo  painted  in  Florence,  Rome,  France,  Eng- 
land, and  Spain.  He  was  President  of  the  Acad.  of  S.  Luke,  at 
Rome,  and  left  writings  on  the  arts.  The  pictures  of  both  are  in- 
sipid and  disagreeably  smooth,  and  yet  at  times  we  find  something  in 
them  which  indicates  more  power  than  appears.  Their  historical 
paintings  in  the  Castle  of  Caprarola  show  all  these  characteristics. 
The  paintings  of  Federigo  in  the  cupola  of  the  Duomo,  at  Florence, 
occasioned  this  satire  :  — 

"Poor  Florence,  alas!  will  ne'er  cease  to  complain, 
Till  she  sees  her  fine  cupola  whitewashed  again." 

Zurbaran,  Francisco,  born  at  Fuente  de  Cantos,  1598  ;  died  at 
Madrid,  1662.  Pupil  of  Juan  de  Roelas,  at  Seville.  He  acquired 
the  title  of  the  Caravaggio  of  Spain,  from  his  imitation  of  the  Italian 
master  of  that  name.  He  is  one  of  the  first  among  Spanish  painters. 
His  tints  were  sober  and  subdued,  but  also  brilliant;  and  in  color  he 
was  by  no  means  an  inferior  artist.  His  Virgins  were  rare,  and  his 
female  saints  resembled  the  ladies  of  his  day.  In  the  delineation  of 
animals  he  was  very  successful;  and  his  representations  of  still-life  and 
drapery  were  fac-similes  of  the  models  from  which  he  painted.  He 
painted  historical  and  religious  pictures,  portraits,  and  animals,  but 
his  chief  excellence  was  in  the  representation  of  monks  Stirling 
says  he  "studied  the  Spanish  friar,  and  painted  him  with  as  high 
a  relish  as  Titian  painted  the  Venetian  noble,  and  Vandyck  the 
gentleman  of  England."  He  was  appointed  painter  to  Philip  IV. 
before  he  was  thirty-five  years  old,  and  was  a  great  favorite  with 
that  King,  who  once  called  him  "painter  of  the  King,  and  king  of 
painters."  His  portrait  is  in  the  Louvre,  and  represents  him  a  good- 
looking  man,  dressed  in  the  extreme  of  fashion.  His  finest  works 
are  in  the  Mus.  at  Seville;  and  arc  the  allegorical  picture  called  "  S. 
Thomas  Aquinas,"  and  three  pictures  painted  for  the  Carthusians. 
The  Louvre  claims  to  possess  ninety-two  of  his  pictures.  The  Cath. 
of  Cadiz  has  a  fine  "  Adoration  of  the  Kings;  "  the  Queen  of  Spain's 
Gall,  his  "  Labors  of  Hercules,"  the  "  Sleeping  Jesus,"  and  two  pic- 
tures from  the  life  of  S.  Pedro  Nolasco. 


APPENDIX. 


Aaalst  or  Aelst,  Wilhelm  or  William  van.  In  1877  the  Museum 
of  Antwerp  obtained  a  chef-d'oeuvre  by  this  painter,  called  "  Dead 
Nature,"  for  which  8,500  francs  was  paid. 

Aldegrever,  Heinrich.  At  the  Hartmann  sale  in  Paris  in  1873, 
a  "  Portrait  of  an  Old  Man,"  by  this  master,  was  sold  for  £320. 

Allegri,  called  Correggio.  "  The  Holy  Family,"  by  this  painter, 
in  the  National  Gallery,  London,  commonly  known  as  "  La  Vierge 
au  Panier"  was  formerly  in  the  Royal  Gallery  at  Madrid.  During 
the  French  invasion  of  Spain,  Mr.  Wallace,  an  English  painter,  ob- 
tained it.  In  1813  it  was  vainly  offered  for  sale  in  England  for 
£1,200.  It  is  painted  on  a  panel,  and  is  13^  inches  high  by  10 
inches  wide.  After  a  time  this  work  passed  into  the  Lapeyriere 
collection  in  Paris.  In  1825  it  was  sold  at  auction  in  that  city,  and 
Mr.  Nieuwenhuys,  senior,  bought  it  for  80,000  fr.,  and  soon  after- 
wards sold  it  to  the  National  Gallery  for  £3,800.  Earl  Dudley 
gave  £1,600  for  a  replica  of  the  "Reading  Magdalen,"  of  the  Dres- 
den Gallery. 

Allori,  Alessandro.  A  portrait  of  one  of  the  Medicis,  by  Allori, 
was  bought  for  the  gallery  at  the  Hermitage,  St.  Petersburg,  from 
the  sale  of  the  collection  of  King  William  II.,  of  Holland,  for  5,000 
florins.1 

Allston,  Washington.  At  the  sale  of  the  collection  of  John 
Taylor  Johnston,  New  York,  1876,  u  Spalatro's  Vision  of  the  Bloody 
Hand  "  (20  by  32),  painted  at  Cambridge  in  1832,  sold  for  $3,900. 
(See  engraving,  page  30.) 

Apelles.  It  is-  said  that  this  Greek  painter  received  a  sum 
equal  to  125,000  francs  for  a  portrait  of  Alexander  the  Great. 

Aristeides.  We  are  told  that  King  Attains  also  gave  this  painter 
the  amount  last  named  for  a  picture. 

Asselyii,  Jan.  At  the  Cope  sale  in  London,  1872,  a  "Land- 
scape,—  Booth,  and  Men  carousing,"  sold  for  100  guineas. 

Audubon,  John  James.  Since  the  publication  of  this  book  it 
has  happened  that  I  have  seen  several  oil  paintings  by  Audubon 
which  are  fine  spirited  representations  of  his  subjects,  and  have 

1  Florin,  about  forty-three  cents. 


630  APPENDIX. 

an  unusual  interest  from  their  rarity  and  the  associations  connected 
with  them. 

Backhuysen,  Ludolf.  At  the  Cope  sale,  London,  1872,  a  "  Sea 
yiew  —  Shipping  under  weigh,"  sold  for  100  guineas. 

Bartolommeo,  Fra.  At  the  Northwick  sale,  Thirlestane  House, 
1859,  "  The  Virgin,  Christ,  and  S.  John  "  sold  for  13,260  fr.  At 
the  Hargreaves  sale,  1873,  same  subject,  for  220  guineas. 

Bega,  Cornelius.  At  the  Pierard  sale  in  Paris,  1860,  "  The 
Gipsey  "  (quite  small)  sold  for  1,260  fr. ;  at  a  sale  in  1869,  "  A 
Dutch  Musician,"  for  £136. 

Bellini,  Giovanni.  At  the  Northwick  sale,  Thirlestane  House, 
1859,  "  A  Holy  Family  "  (Repose),  an  early  work,  realistic,  with 
beautiful  background,  sold  for  7,800  fr. ;  at  a  London  sale,  in  1872, 
a  "Virgin  and  Child"  for  600  guineas. 

Beltraffio,  Gio.  Antonio.  At  a  London  sale  in  1872,  a  "  Portrait 
of  a  Poet "  sold  for  125  guineas,  and  a  "Portrait  of  a  Lady  "  for 
405  guineas. 

Berchem,  or  Berghem,  Nicolas.  At  the  Hermitage,  St.  Peters- 
burg, is  "  A  View  in  Italy,"  by  this  master,  which  was  bought  at 
the  sale  of  the  collection  of  the  Duke  de  Choiseul,  1772,  for  11,600 
livres.  In  the  same  gallery  is  the  "  Halte  de  Chasseurs."  This 
was  painted  by  Berchem  in  competition  with  Both  for  a  prize  of  800 
florins,  which  had  been  offered  by  the  Burgomaster  of  Dordrecht. 
Berchem  gained  the  prize,  and  the  Burgomaster  doubled  the  sum 
and  bought  the  picture.  Lord  Ashburton  paid  for  "  Le  Fagot " 
(see  page  99)  £600.  It  is  painted  on  panel,  and  is  15  by  19£ 
inches.  It  has  been  in  the  Blondel,  De  Gagny,  Marquis  de  Pange, 
and  Talleyrand  collections.  At  a  London  sale,  1876,  "  Herdsmen 
with  Cattle,  Sheep,  etc.,  passing  a  River,"  sold  for  £1,207. 

Bergen,  Dirk  Van.  At  a  Paris  sale  in  1873,  "  The  Farmer,"  by 
Bergen,  sold  for  £379. 

Berkheiden,  Gerit.  At  a  Paris  sale  in  1869,  "  An  Interior  View 
of  a  Dutch  Town  "  sold  for  £200. 

Bloot,  Peter.  At  a  London  sale  in  1871,  "  A  Kitchen  Scene," 
by  Bloot,  sold  for  £73. 

Boccaccino,  Boccaccio.  In  1870,  "  The  Procession  to  Calvary," 
by  this  old  master,  was  bought  for  the  National  Gallery,  London,  for 
£300. 

Bonifazio,  Veneziano.  At  the  Sedelmeyer  sale,  Vienna,  1873, 
a  "Holy  Family,"  by  Bonifazio,  sold  for  £l,640. 

Bonington,  Richard  Parkes.  "  Henry  III.  receiving  the  Ambas- 
sadors of  Spain  "  was  sold  at  the  San  Donate  sale,  for  83,000  fr.  It 
had  been  sold  previously  for  49,000  fr.  At  the  Gillott  sale,  Lon- 
don, 1872,  "A  View  on  the  Seine"  was  purchased  for  the  New 
York  Metropolitan  Museum  for  300  guineas. 

Bonvicino,   Alessandro,  called  II    Morctto.      At  the  Northwick 


APPENDIX.  631 

sale,  Thirlestane  House,  1859,  "The  Glorification  of  the  Virgin  " 
sold  for  14,300  fr.  It  was  formerly  an  ornament  of  the  high  altar 
in  the  church  of  SS.  Faustino  and  Giovita  at  Brescia. 

Bordone,  Paris.  At  a  Paris  sale  in  1872,  "  A  Girl  at  her  Toi- 
let," by  this  master,  sold  for  700  guineas. 

Borgognone,  Ambrogio.  At  the  Blaisel  sale,  Paris,  1870,  "  The 
Education  of  the  Infant  Jesus  "  sold  for  £185. 

Both,  Jan.  At  the  Pierard  sale,  Paris,  1860,  a  landscape  by 
this  painter  sold  for  2,400  fr.  At  a  London  sale  in  1878,  "  A 
Rocky  Pass"  sold  for  £  1,600,  and  at  the  Schneider  sale,  Paris, 
1876,  an  "  Italian  Landscape  "  brought  £1,800. 

Botticelli,  Sandro.  At  the  Barker  sale,  England,  1874,  "  The 
Virgin  caressing  the  Infant  Jesus  "  sold  for  1,600  guineas.  This 
work  was  from  the  Beckford  collection,  and  is  a  noble  specimen  of 
the  wonderful  conceptions  of  this  painter.  "  Venus "  brought 
1,452  guineas. 

Boucher,  Fran9ois.  At  a  sale  at  Christie's  in  1860  two  large 
allegorical  pictures  painted  by  Boucher  for  Louis  XV.  sold  for 
31,250  fr.  At  the  Cope  sale,  London,  1872,  a  "  Portrait  of  a  Boy 
as  Pierrot  "  sold  for  870  guineas. 

Brauwer  or  Brower,  Adrian.  At  the  Papin  sale,  Paris,  1873, 
"  The  Quack  "  sold  for  £220. 

Breughel,  Pieter,  called  Peasant  Breughel.  At  the  Oppenheim 
sale,  London,  1864,  "  A  Cattle  Fair  in  a  Dutch  Village,"  and  a 
"  Scene,"  both  by  this  master,  sold  for  245  guineas. 

Bronzino,  Angiolo.  At  the  Pourtales  sale,  1865,  a  "Portrait 
of  a  young  Medici "  sold  for  £2,200.  At  a  London  sale,  1872,  a 
"  Portrait  of  Cosmo  de  Medici "  sold  for  325  guineas. 

Bugiardini,  Giuliano.  At  a  London  sale,  1872,  a  "  Virgin  and 
Child,"  by  this  painter,  sold  for  110  guineas. 

Buonarotti,  Michael  Angelo.  At  the  Royal  Academy,  London, 
there  is  a  circular  composition  in  marble  by  this  sculptor  which 
represents,  in  deep  relief,  the  Virgin,  Child,  and  St.  John.  It  is 
probably  an  early  work,  and  is  interesting  from  its  history  aside 
from  its  merit  and  value.  The  nephew  of  Michael  Angelo,  Leo- 
nardo Buonarotti,  presented  it  to  the  Archduke  Cosmo  I.  of  Flor- 
ence, ;  Cosmo  II.  gave  it  to  the  younger  Michael  Angelo,  that  it 
might  be  placed  in  a  gallery  which  he  had  built.  During  the  Rev- 
olution M.  Vicar,  a  painter,  obtained  possession  of  it,  and  Sir 
(Jcorge  Beaumont  presented  it  to  the  Royal  Academy.  At  the 
National  Gallery,  London,  there  is  an  "  Entombment  "  (painting), 
attributed  to  Michael  Angelo.  It  was  purchased  in  1868  for 
£2,000. 

Cagliari  or  Caliari,  Paolo,  called  Paul  Veronese.  "  The  Fam- 
ily of  Darius  before.  Alexander  "  is  in  the  National  Gallery,  London, 
and  cost  that  institution  £13,650.  It  was  in  the  Pisani  Palace, 


632  APPENDIX. 

Venice,  for  many  years,  and  it  is  said  to  have  been  left  there  by  the 
artist  in  payment  for  his  entertainment  during  a  visit  which  he  had 
made.  At  the  Demidoff  sale,  1868,  a  "  Portrait  of  his  Daughter  " 
sold  for  £2,524. 

Calico tt,  Sir  Augustus  Wall.  At  the  Gillott  sale,  London,  1872, 
"  A  Coast  Scene,"  by  Callcott,  sold  for  1,400  guineas ;  at  the 
Holme  wood  sale,  London,  1874,  "  Tor  Point  Ferry,  above  Devon- 
port,"  for  310  guineas. 

Camphuysen,  Theodore  Raphael.  At  the  Northwick  sale, 
Thirlestane  House,  1859,  "  The  Dutch  Farm,"  considered  the  chef- 
d'oeuvre  of  this  master,  sold  for  13,260  fr. 

Canal  or  Canale,  Antonio,  called  Canaletto.  At  the  Northwick 
sale,  Thirlestane  House,  1859,  "  The  Marriage  of  the  Doge  "  sold 
for  10,400  fr.  At  Christie's,  in  1873,  a  "  View  in  Venice  "  sold  for 
3,200  guineas. 

Capella,  Jan  Van  de.  The  works  of  this  artist  are  very  rare. 
At  the  Pierard  sale,  Paris,  1860,  a  "Marine"  sold  for  3,000  fr. ;  at 
the  Harris  sale,  London,  1872,  "  Fishing  Boats  in  a  Calm,"  for  175 
guineas;  at  the  Lissengen  sale,  Paris,  1876,  the  "Plage"  sold  for 
17,300  fr.,  and  was  purchased  for  the  Berlin  Museum. 

Carracci,  Annibale.  The  "  Christ  and  St.  Peter,"  of  the  Na- 
tional Gallery,  London,  was  bought  for  £8,000,  and  Lord  Carlisle 
paid  £4,000  for  "  The  Three  Maries." 

Champaigne,  Philippe  de.  At  the  Pourtales  sale,  Paris,  1865, 
the  "  Marriage  of  the  Virgin,"  formerly  the  altar-piece  of  the  chapel 
of  the  Palais  Royal,  sold  for  £1,740.  At  a  Paris  sale,  in  1873,  the 
"  Portrait  of  Colbert "  brought  £400. 

Chardin,  Jean  Baptiste  Simon.  At  the  Marcille  sale,  Paris,  1876, 
"  The  Charwoman,"  dated  1738,  sold  for  23,200  fr.,  and  "Dead  Na- 
ture," dated  1760,  for  12,000  fr. 

Clouet,  Franpois.  At  the  Pourtales  sale,  1865,  a  "  Bust  Portrait 
of  a  Man  "  sold  for  £276.  At  a  London  sale  in  1874,  a  "  Portrait 
of  Diana  of  Poitiers  "  sold  for  £131. 

Coello,  Claudio.  At  the  Demidoff  sale,  1868,  a  "  Portrait  of  a 
Young  Gentleman,"  by  this  painter,  sold  for  £124. 

Collins,  William.  At  a  London  sale  in  1871,  "  The  Nutting 
Party  "  sold  for  945  guineas.  At  the  Gillott  sale,  London,  1872, 
"  Cromer  Sands,"  a  large  picture,  brought  3,600  guineas. 

Conegliano,  Giambatista  Cima  da.  At  the  Northwick  sale, 
Thirlestane  House,  1859,  "  St.  Catherine  "  sold  for  20,800  fr.  This 
picture  is  in  the  best  style  of  the  painter,  and  has  his  name  in- 
scribed full-length.  At  a  London  sale  in  1872,  the  "  Virgin  and 
Child  "  sold  for  308  guineas. 

Constable,  John.  In  1873  Mr.  John  W.  Wilson  presented  to 
the  Louvre  a  picture  of  "  Wey mouth  Bay,"  by  Constable,  for  which 
he  paid  £2,240.  Mr.  Wilson  received  the  Cross  of  the  Legion  of 
Honor. 


APPENDIX.  633 

Coques,  Gonzales.  At  the  Patureau  sale  Lord  Hertford  paid 
45,000  fr.  for  "  Le  Repas  Champetre."  It  was  sold  iii  the  collec- 
tion of  King  William  II.  of  Holland,  for  7,200  florins.  At  a  Paris 
sale  in  1873,  a  "Portrait  of  a  Gentleman,"  by  Coques,  brought 
£726. 

Cotes,  Francis.  At  a  London  sale  in  1870,  a  "Portrait  of  Mrs. 
Marrable,"  by  Cotes,  sold  for  450  guineas. 

Craesbecke,  Joost  Van.  At  the  Lemaitre  sale,  Paris,  1874,  the 
"  Alehouse  Politicians,"  by  this  painter,  sold  for  £240. 

Credi,  Lorenzo  da.  At  the  Northwick  sale,  Thirlestane  House, 
1859,  a  "  Holy  Family,"  by  Credi,  sold  for  13,000  fr. 

Crivelli,  Carlo.  "  The  Madonna  and  Child,"  purchased  for  the 
National  Gallery,  London,  in  1863,  cost  £2,182.  An  altar-piece, 
same  collection,  cost  £3,360.  At  the  Barker  sale,  1874,  a  "Ma- 
donna in  Ecstasy,"  dated  1492,  sold  for  550  guineas. 

Cuyp,  Albert.  Sir  Robert  Peel  paid  350  guineas  for  a  panel  by 
this  artist,  1 2  by  20  inches,  which  was  originally  purchased  in  Hol- 
land for  about  one  English  shilling !  It  is  a  landscape,  and  thus 
described  by  Waagen  :  "  An  old  castle  with  towers,  gilded  by  the 
most  glowing  evening  sun,  is  reflected  in  the  clear  water  by  which 
it  is  surrounded.  In  the  background  misty  mountains ;  in  the 
foreground,  in  happy  contrast,  a  horseman  on  a  black  horse,  and 
some  sheep.  Few  pictures  excite  in  so  high  a  degree  the  poetical 
feeling  of  the  silence  of  a  fine  summer  evening,  with  the  melancholy 
sense  of  a  time  long  past."  Before  the  middle  of  the  eighteenth  cen- 
tury, nearly  a  hundred  years  after  his  death,  no  picture  of  Cuyp's  sold 
for  more  than  thirty  florins  !  At  the  Northwick  sale,  Thirlestane 
House,  1859,  "  a  Splendid  Landscape,  with  Peter  Both,  first  Gov- 
ernor of  Batavia,  and  his  Wife,"  with  fine  background  and  accesso- 
ries, sold  for  23,920  fr.  At  a  London  sale  in  1876,  a  "  View  on 
the  Rhine  "  sold  for  £3,150,  and  at  the  Forster  sale,  London,  1876, 
"  A  Hilly  Landscape,  Morning  Light,"  brought  £5,042.  "  The  River 
Maas  frozen,"  by  Cuyp,  one  of  the  treasures  of  the  Bedford  col- 
lection, was  purchased  for  £1,200.  Painted  on  wood,  2  feet  by  3 
feet  11  inches  in  size. 

David  D' Angers.  A  bust  of  Humboldt,  by  this  sculptor,  was 
sold  at  auction  at  Berlin  in  1860;  it  was  purchased  for  the  Louvre, 
for  7,500  fr. 

David,  Jacques  Louis.  While  in  Brussels  this  artist  completed 
a  duplicate  of  the  "  Sacre  de  1'Empereur,"  at  Versailles.  Mon- 
sieur Lajard  encouraged  him  to  finish  it,  and  paid  him  75,000  fr. 
It,  has  been  exhibited  in  London  and  America.  At  the  Pourtales 
sale,  1865,  "  Portraits  of  Pius  VII.  and  Cardinal  Capreva  "  sold  for 
£712. 

Decamps,  Alexander  Gabriel.  At  a  Paris  sale,  1873,  the  "  Court- 
yard of  an  Inn,"  by  Decamps,  sold  for  £l,048.  • 


634  APPENDIX. 

Delacroix,  Eugene.  The  "Marino  Faliero"  was  first  sold  for 
£400  ;  in  later  years  it  has  been  sold  for  £4,000.  A.  Dumas  says 
that  Delacroix  wished  never  to  be  separated  from  this  picture,  and 
esteemed  it  his  best  work.  At  the  San  Donate  sale  'l  Columbus  in 
the  Cloister  of  Santa  Maria  de  Rabida  "  brought  38,000  fr.  At 
the  Oppenheim  sale,  Paris,  1877,  the  Duke  d'Aumale  paid  70,500 
fr.  for  "  The  Two  Foscari,"  by  this  artist. 

Delaroche,  Paul.  At  the  Norzy  sale,  Paris,  1860,  "  Jesus  in  the 
Garden  of  Olives  "  sold  for  8,000  fr.  At  the  Delessert  sale,  1869, 
"  St.  Cecilia  "  brought  £840  ;  at  London,  1874,  "Portrait  of  Na- 
poleon I.,"  from  the  collection  of  Napoleon  III.,  £430.  At  the  San 
Donate  sale  his  "  Lady  Jane  Grey"  brought  110,000  fr. 

Dernier,  Balthasar.  Waagen  says  that  Denner's  works  are  only 
good  to  refute  the  doctrine  that  nature  should  be  represented  with 
e  actness,  on  the  theory  of  realism.  If  this  doctrine  were  correct 
Denner  would  be  the  greatest  painter  who  ever  lived.  At  the  De 
Morny  sale,  1852,  a  "  Portrait  of  an  old  Woman  "  was  purchased 
for  the  Pereire  collection  for  18,900  fr. 

Dolci,  Carlo.  At  the  North  wick  sale,  Thirlestane  House,  1859, 
"  St.  John  writing  the  Apocalypse  "  sold  for  52,260  fr.  This  pic- 
ture was  particularly  warm  and  clear,  has  all  the  feeling  usual  with 
this  painter,  and  seems  to  have  been  finished  con  amore. 

Dow,  Gerard.  Sir  Robert  Peel  had  in  his  collection  one  of  the 
most  pleasing  works  of  this  master.  It  is  on  panel,  22  by  17^  in., 
is  called  "  The  Dealer  in  Game,"  and  represents  an  old  woman  at 
an  open  window,  talking  with  a  girl  about  a  hare  ;  two  other  fig- 
ures and  various  accessories.  The  price  paid  by  Sir  Robert  Peel 
is  not  known,  but  in  1772  the  Due  de  Choiseul  paid  for  it  17,300 
fr. ;  in  1777,  Prince  de  Conti,  20,000  fr. ;  in  1787,  Duke  de  Chabot, 
20,800  fr. ;  in  1821,  Coupry  Dupre  bought  it  for  26,000  fr.;  in  1823, 
Mr.  Beckford  gave  1,270  guineas.  At  the  sale  of  the  Van  Leyden 
collection  in  1804,  "  A  Hermit  praying  before  a  Crucifix,  with 
an  open  Bible,"  sold  for  32,000  fr.  It  passed  into  the  collection 
of  Lord  Ashburton.  "  The  Physician,"  in  the  Hermitage  at  St. 
Petersburg,  was  purchased  in  1772,  at  the  Due  de  Choiseul  sale,  for 
19,153  livres.  At  the  Pierard  sale,  Paris,  1860,  a  portrait  of  Dow 
painted  by  himself,  when  about  forty  or  forty-five  years  old,  brought 
37,000  fr. 

Drouais,  Jean  Germain.  At  the  De  Morny  sale,  Paris,  1865, 
"  A  Boy  playing  with  a  Cat,"  by  this  artist,  sold  for  £804. 

Egg,  Augustus  Leopold.  At  a  sale  at  Christie's  in  1869, 
"  Launce's  Substitute  for  Proteus'  Dog  "  sold  for  600  guineas. 

Etty,  William.  At  the  Gillott  sale,  London,  1872,  "  Pluto  car- 
rying off  Proserpine,"  sold  for  1,000  guineas.  At  the  Twopenny 
sale,  London,  1874,  "  Phcedra  and  Cymocles  on  the  Idle  Lake," 
510  guineas.  • 


APPENDIX.  635 

Eyck,  Van.  It  is  said  that  the  six  panels  in  the  Berlin  Museum 
from  the  "  Adoration  of  the  Lamb,"  by  the  brothers  Van  Eyck, 
were  bought  by  M.  Nieuwenhuys  for  6,000  fr.  in  1815  ;  they  were 
sold  by  him  in  England  for  100,000  fr.,  and  purchased  for  the  Ber- 
lin Museum  for  450,000  fr.  An  "  Annunciation,"  in  the  Hermitage 
at  St.  Petersburg,  by  Jan  Van  Eyck,  was  bought  from  the  collec- 
tion of  King  William  II.  of  Holland  for  5,375  florins.  In  the  Na- 
tional Gallery,  London,  there  is  a  very  interesting  picture  by  Jan 
Van  Eyck.  It  is  on  wood,  2  ft.  9  in.  high  by  2  ft.  £  in.  wide. 
It  represents  the  artist  and  his  wife,  standing  in  a  room  with  rich 
accessories.  There  is  a  circular  mirror,  on  the  frame  of  which  the 
ten  moments  from  the  life  of  Christ  are  represented,  and  although 
very  diminutive  they  are  quite  distinctly  rendered.  The  effect  of 
chiaro  scuro  in  this  work  is  remarkable  for  the  period  in  which  it 
was  executed.  It  is  inscribed,  "  Johannes  de  Eyck  fuit  hie,  1434." 
The  regent  of  the  Netherlands,  Margaret,  daughter  of  Charles  V., 
bought  this  picture  of  a  barber  in  Brussels,  and  gave  him  a  yearly 
pension  of  100  gulden. 

Fiesole,  Fra  Gio.  da,  called  Fra  Angelico.  In  1860,  "  Christ 
with  the  Banner  of  the  Resurrection  "  was  bought  for  the  National 
Gallery,  London,  for  £3,500. 

Forli,  Melozzo  da.  In  1866,  "  Rhetoric  and  Music/'  by  this  ar- 
tist, was  purchased  for  the  National  Gallery,  London,  for  £600. 

Foppa,  Vincenzo.  At  a  London  sale,  1872,  a  "  Portrait  of  a 
Mai),"  by  Foppa,  sold  for  250  guineas. 

Fragoiiard,  Jean-Honore.  At  a  Paris  sale,  1874,  "  Spring " 
and  "  Summer"  (a  pair)  sold  for  £796.  At  the  Marcille sale,  Paris, 
1876,  "  La  Fuite  a  Dessein  "  was  purchased  by  Baron  Rothschild,  of 
Vienna,  for  22,000  fr. 

Francesca,  Pietro  della.  In  1866,  a  "  Portrait  of  a  Lady,"  by 
this  painter,  was  purchased  by  the  National  Gallery  for  £160.  At 
the  Barker  sale,  1874,  "  The  Nativity  "  brought  2,300  guineas. 

Francia,  Francesco.  At  the  Pourtales  sale,  1865,  "  The  Vir- 
gin," by  Francia,  sold  for  £860.  At  a  London  sale,  1872,  "  Por- 
trait of  a  Youth,"  for  390  guineas.  An  altar-piece  in  the  National 
Gallery,  London,  cost  £3,500. 

Gainsborough,  Thomas.  At  a  Paris  sale,  1874,  a  "  Portrait  of 
Himself"  sold  for  £760.  At  Christie's  in  1876, "  The  Portrait  of  the 
Duchess  of  Devonshire  "  was  bought  by  Messrs.  Agnew  for  10,000 
guineas,  the  largest  price  ever  paid  at  Christie's. 

Garbo,  Raffaellino  del.  At  a  London  sale,  1873,  a  "Madonna 
and  Child  "  sold  for  950  guineas. 

Garofalo,  Lord  Northwick  had  at  Thirlestane  House  "The 
Stoning  of  St.  Stephen,"  by  this  master ;  it  was  in  brick-red  tones, 
and  in  dramatic  scenes  he  did  not  excel,  but  when  sold  in  1859  it 
brought  39,250  fr.  It  was  formerly  in  the  Balbi  Palace  at  Rome. 


636  *    APPENDIX. 

Giorgione.  At  the  Northwick  sale,  Thirlestane  House,  1859, 
"  A  Wounded  Cupid  complaining  to  Venus  "  sold  for  32,500  fr.  and 
"  A  Concert  in  the  Country,"  for  19,500  fr.  In  1863,  the  Calco- 
graphie  (Louvre)  gave  £800  for  a  plate  by  Pallet  after  "  The  Con- 
cert," of  the  Pitti  Gallery. 

Giotto  di  Bordone.  The  works  of  this  old  artist  are  rare. 
At  the  Bromley  sale,  London,  1863,  the  "  Coronation  of  the  Vir- 
gin," formerly  in  the  Fesch  gallery,  sold  for  195  guineas.  This  pic- 
ture so  much  resembles  the  well-known  picture  in  S.  Croce  in  Flor- 
ence, that  it  seems  reasonable  to  attribute  it  to  Giotto.  At  same 
sale  "  The  Death  of  the  Virgin ;  the  Saviour  receiving  her  Soul," 
a  capo  d'opera,  brought  950  guineas.  It  is  a  very  spirited  compo- 
sition, and  excepting  the  gold  ground  is  well  preserved. 

Goya  y  Lucientes.  At  the  Edwards  sale,  Paris,  1870,  "  Char- 
lotte Corday,"  by  Goya,  sold  for  £584,  and  "  Goya's  Mistress  "  for 
£444. 

Goyeii,  Jan  Van.  At  a  Paris  sale  in  1873,  "  The  Banks  of  the 
Meuse  "  sold  for  £516,  and  at  a  sale  in  same  city,  1874,  a  "View  at 
Nimeguen"  for  £356. 

Greuze,  Jean  Baptiste.  "La  Pelotonneuse "  was  sold  in  1770 
for  950  livres  and  in  1772  for  1,600  livres.  "  Le  Miroir  Casse  "  is 
one  of  the  rarer  works  of  this  master.  It  was  formerly  in  the 
Fesch  collection.  The  Marquis  of  Hertford  paid  £1,600  for  it. 
At  the  Norzy  sale,  1860,  Paris,  "  A  Bacchante  "  (a  bust  only) 
sold  for  22,200  fr.  It  was  a  study  rather  than  a  picture.  At  the 
San  Donate  sale,  a  work  by  Greuze  sold  for  126,000  fr.,  and  at  the 
Forster  sale,  1876,  "  A  little  Girl  with  a  Lapdog  in  her  Arms  " 
brought  £6,720.  At  the  sale  of  the  Due  de  Choiseul  in  1772,  the 
same  picture  sold  for  £300,  and  in  1832  it  brought  £703  10s. 

Guardi,  Francesco.  At  the  De  Morny  sale,  1865,  "  The  Rialto, 
Venice,"  sold  for  £1,000  and  the  "  Doge's  Palace  "  for  £800. 

Guercino.  At  the  Northwick  sale,  Thirlestane  House,  1859, 
"  Christ  and  the  Samaritan  Woman,"  formerly  in  the  Balbi  Palace 
at  Rome,  sold  for  13,052  fr.  At  the  Hargreaves  sale,  London, 
1873,  the  same  subject  sold  for  360  guineas. 

Hals,  Frans.  At  the  Pourtales  sale,  1865,  Lord  Hertford  paid 
51,000  fr.  for  the  "  Portrait  of  a  Man,"  by  Hals.  In  the  same  year 
the  Brienen  gallery  of  Amsterdam  was  sold  at  the  Hotel  Drouot, 
and  Baron  James  de  Rothschild  gave  35,000  fr.  for  another  portrait 
of  a  gentleman. 

Heist,  Bartholomew  van  der.  At  the  sale  of  the  collection  of 
King  William  II.  of  Holland,  "  The  Presentation  of  the  Fiancee  " 
was  purchased  for  the  Hermitage  for  17,900  florins.1 

Hey  den,  Jan  van  der.  Sir  Robert  Peel  paid  415  guineas  for 
a  "Street  Scene  in  Cologne,"  on  panel,  13  by  17  inches.  In  Lord 
l  Florin,  about  forty -three  cents. 


APPENDIX.  637 

Ashburton's  collection,  the  "  View  of  a  Market  Place,"  with  figures 
by  Van  der  Velde,  was  formerly  in  the  Louvre,  was  returned  to  Hol- 
land after  the  Restoration,  and  was  sold  for  £600.  It  is  on  panel, 
19  by  23  in.  At  the  Delessert  sale,  1869,  "  City  Scene  in  Hol- 
land "  sold  for  £1,600,  and  at  a  sale  in  Paris,  1874,  "  The  Chateau" 
brought  £660. 

Hobbema,  Mindert.  In  the  collection  of  Sir  Robert  Peel  were 
two  pictures  by  this  master,  which  cost  more  than  £  1,600  for  the 
two  —  the  largest  being  3  ft.  5  in.  by  4  ft.  8  in.  and  the  smaller  2 
ft.  8£  in.  by  3  ft.  41  in.  The  first  represented  the  "  Ruins  of  the 
Castle  of  Brederode,"  and  the  other  the  "  Village  of  Middelhar- 
nis."  Mr.  Holford  paid  £3,000  for  a  "  Road  through  a  Wood,"  3  ft. 
by  4  ft.  2  in.,  inscribed  with  name  full  length  and  dated  1663.  This 
is  probably  the  mate  to  that  of  Lord  Hatherton,  for  which  the 
same  price  was  paid,  and  for  which  6,000  guineas  has  been  refused. 
Lord  Hertford  bought  the  "  Moulin  k  Eau,"  at  the  sale  of  the  col- 
lection of  William  II.  of  Holland,  for  27,000  florins,  and  a  "  View 
in  Holland,"  from  the  sale  of  Cardinal  Fesch,  for  8,000  Roman 
crowns,  or  about  44,000  fr.  At  the  De  Morny  sale,  1852,  M. 
Schultze  of  Berlin  bought  a  picture  by  Hobbema.  which  had  been 
valued  at  200,000  fr.,  for  105,000  fr.  At  the  Patureau  sale,  "The 
Mills  "  brought  95,500  fr.  The  sketches  by  this  artist  are  very  rare. 
In  1847,  two  in  India  ink  were  sold  for  1,830  florins. 

Hogarth,  William.  At  the  Holmewood  sale,  1874,  a  u  Portrait 
of  Mrs.  Hogarth  "  sold  for  360  guineas.  At  the  Twopenny  sale, 
1874,  "  The  Lady's  Last  Stake  "  brought  1,506  guineas. 

Holbein,  Hans,  the  Younger.  At  the  Northwick  sale,  Thirles- 
tane  House,  1859,  a  miniature  of  Sir  John  Gage  sold  for  1,586  fr. 

Hondekoeter,  Melchior.  At  the  Schneider  sale,  Paris,  1876, 
two  pictures  by  this  master,  called  "  Morning  "  and  "  Evening," 
sold  for  £1,420. 

Hoogh,  Peter  de.  In  the  collection  of  Sir  Robert  Peel  was  a 
picture  by  this  master,  on  canvas,  2  ft.  5  in.  by  1  ft.  11  in.,  for 
which  £945  were  paid  in  1825.  It  represents  a  woman  with  her 
child,  in  an  inclosed  vineyard,  with  bright  sunlight.  It  is  in- 
scribed "P.  D.  H.  1658."  At  the  De  Morny  sale,  1852,  "  A  Card 
Party  "  sold  for  18,800  fr.  At  the  Delessert  sale,  Paris,  1869, 
"  The  Interior  of  a  Dutch  House,"  was  bought  for  the  National 
Gallery,  London,  for  £6,000.  At  the  Schneider  sale,  Paris,  1876, 
"  Interior  of  a  Dutch  Mansion,"  £5,400. 

Houdon,  Jean-Antoine.  At  the  sale  Marquis  de  Maison,  a  bust 
in  marble  of  Mile.  Dathe,  dated  1781,  sold  for  £588. 

Huysum,  Jan  van.  *  "  A  Bouquet,"  by  this  master,  in  the  col- 
lection Pereire,  at  Paris,  cost  20,000  fr.  At  the  Twopenny  sale, 
London,  1874,  "  Flowers,  Birds,  etc.,"  brought  500  guineas. 

Jardiii,  Karel  du.     In  Sir  Robert  Peel's  collection,  "  Cattle  in  a 


638  APPENDIX. 

Meadow  "  was  sold  at  the  Duke  de  Praslin's  sale,  1793,  for  £680, 
and  at  the  sale  of  Sir  Simon  Clarke  it  brought  930  guineas.  In 
Lord  Ashburton's  collection  "  A  Watermill,  with  a  Man,  Pigs,  an 
Ass,  etc.,"  on  panel,  16^  by  14^  inches,  was  bought  from  the  Eynard 
collection  in  1825  for  10,000  fr.,  and  "  An  Italian  Scene,"  on  cop- 
per, circular,  8^  inches  in  diameter,  from  the  Talleyrand  collec- 
tion, was  valued  at  300  guineas  in  1817.  A  "  Landscape,"  by  Du 
Jardin,  which  was  in  the  Due  de  Morny  collection  in  1863  was 
sold  in  1771  for  4,400  livres  ;  in  1804,  for  8,000  livres  ;  and  in  1852 
for  25,000  fr.  At  the  Patureau  sale  "  The  Dismounted  Cuirassier  " 
sold  for  14,000  fr.,  and  at  the  Pierard  sale  for  17,000  fr. 

Kiss,  Augustus.  Since  the  death  of  this  sculptor  his  widow  pre- 
sented to  the  National  Gallery  at  Berlin  "  The  Fox  Hunt,"  and  a 
group  of  "  Faith,  Hope,  and  Charity,"  which  last  was  unfinished  at 
the  death  of  the  artist,  and  was  completed  by  Blaser. 

Koningh,  Philip  de.  At  the  Gillott  sale  in  London,  1872,  «•  A 
Bird's  View  in  Holland  "  was  purchased  for  the  Metropolitan  Mu- 
seum, New  York,  for  575  guineas. 

Lancret,  Nicolas.  At  the  Fould  sale,  1869,  "  The  Meeting  at 
the  Fountain,"  sold  for  £2,520.  At  the  Pereire  sale  a  "  Portrait  of 
Camargo  "  brought  £396. 

Lebrun,  Mme.  This  artist's  portrait,  painted  by  herself  in  1776, 
has  been  sold  for  £1,140. 

Lely,  Sir  Peter.  At  the  sale  of  the  Marquis  of  Hastings,  1869, 
a  ''Portrait  of  the  Countess  of  Shrewsbury,"  by  Lely,  sold  for  100 
guineas. 

Lingelbach,  Johann.  At  the  Cope  sale,  London,  1872,  "  The 
Hay  Cart,"  by  this  painter,  sold  for  670  guineas. 

Lippi,  Filippino.  At  the  Barker  sale,  1874*,  "  The  Adoration  of 
the  Magi,"  by  this  master,  sold  for  700  guineas. 

Lombard,  Lambert.  At  the  Schneider  sale,  Paris,  1876,  "  A 
Vision,"  and  the  "  Passage  of  the  Red  Sea,"  works  of  this  painter, 
sold  for  £1,000. 

Lorraine,  Claude.  The  following  description  of  the  "  Liber  Veri- 
tatis  "  (see  page  376),  is  from  the  pen  of  Dr.  Waagen  :  "  The  num- 
ber of  the  drawings  is  200.  On  the  reverse  of  the  first  a  label  is 
pasted  with  an  inscription  in  Claude's  handwriting  which  I  here 
give  in  his  own  orthography  :  — 

Audi.  10,  dagosto  1677 

ce  present  livre  Aupartien  a  moy  que  je  faict  durant 
ma  vie  Claudio  Gillee  Dit  le  lorains 
A  Roma  ce  23  Aos. 


Claude  Lorraine  was  seventy-eight  years  of  age  in  1680,  and  died 
about  two  years  after.  He  also  wrote  on  the  back  of  each  drawing 
the  number,  with  his  monogram,  the  place  where,  and  generally 


APPENDIX.  639 

the  person  for  whom  it  was  painted,  and  sometimes  the  year,  but  he 
never  omitted  the  «  Claudio  fecit.'  According  to  his  will  this  book 
was  to  remain  as  an  heirloom  in  his  family,  which  direction  was  so 
faithfully  observed  by  his  descendants  that  all  the  pains  taken  by 
Cardinal  d'  Estrees,  the  French  ambassador  at  Rome,  to  obtain  pos- 
session of  it  failed.  The  later  heirs,  however,  were  so  little  influ- 
enced by  this  species  of  filial  piety  that  they  sold  it  for  the  low  price 
of  200  scudi  to  a  French  jeweler,  who  sold  it  again  in  Holland, 
whence  it  came  into  the  possession  of  the  Duke  of  Devonshire,  by 
whom  it  is  held  in  due  honor."  Two  very  fine  works  by  Claude, 
make  a  part  of  the  Leigh  Court  collection.  One  is  5  ft.  4  in.  by 
7  ft.  4  in.  and  is  inscribed,  "  II  Tempio  di  Apollo,  Claudio  Gille, 
Inven,  fecit  Rom.  1662."  (or  1665).  The  companion  represents  the 
landing  of  ,<Eneas  and  his  companions  in  Italy,  is  also  inscribed  and 
dated  1675.  At  the  time  of  the  French  Revolution  these  pictures 
were  in  the  Altieri  Palace,  Rome.  Mr.  Fagan  bought  them  there 
for  9,000  scudi.  Their  price  has  since  been  very  largely  increased. 
At  the  Lord  Northwick  sale,  Thirlestane  House,  1859,  "A  Land- 
scape "  sold  for  7,800  fr.  At  the  Pourtales  sale,  1865,  "  A  Land- 
scape" sold  for  £1,460.  At  the  Hartmann  sale,  1873,  a  "  Seaport, 
Sunset  "  sold  for  £600. 

Luini,  Bernardino.  A  "Flora,"  in  the  Hermitage  at  St.  Peters- 
burg, was  for  a  long  time  attributed  to  Leonardo.  It  was  purchased 
at  the  sale  of  the  collection  of  King  William  II.,  of  Holland,  for 
40,000  florins.1 

Mabuse,  Jan  van.  At  the  Schneider  sale,  Paris,  1876,  a  pair, 
"  St.  John  the  Baptist  "  and  "  St.  Peter,"  sold  for  £1,420. 

Mantegna,  Andrea.  The  nine  pictures  of  the  triumphs  of  Julius 
Caesar,  at  Hampton  Court  (see  page  387),  originally  adorned  a  frieze 
in  the  Palace  of  St.  Sebastian,  at  Mantua.  In  the  time  of  Charles 
I.  they  were  brought  to  England,  and  after  his  death  were  sold  for 
£1,000  ;  but  Charles  II.  bought  them  again,  and  replaced  them  at 
Hampton  Court.  At  a  London  sale,  1872,  "  An  Enthroned  Virgin," 
by  Mantegna,  sold  for  100  guineas. 

Marziale,  Marco.  In  1869  "  The  Circumcision,"  by  Marziale, 
was  bought  for  the  National  Gallery,  London,  for  £1,005. 

Masaccio.  At  the  Northwick  sale,  Thirlestane  House,  1859,  a 
portrait  of  this  artist,  painted  by  himself,  bust,  less  than  life  size, 
sold  for  2,678  fr. 

Meer,  Jan  van  der,  of  Delft.  At  the  Pereire  sale,  Paris,  1872, 
"  The  Geographer  "  sold  for  £688. 

Memling,  Hans.  At  the  Barker  sale,  1874,  an  "Enthroned  Ma- 
donna "  sold  for  1,250  guineas. 

Mengs,  Anton  Raphael.  At  the  Corcoran  Gallery,  Washington, 
there  is  an  "  Adoration  of  the  Shepherds,"  by  this  artist,  which 
1  Fluriu,  equal  to  2  francs  and  15  centimes. 


640  APPENDIX. 

was  formerly  in  the  collection  of  Joseph  Bonaparte,  who  brought  it 
from  Spain. 

Messina,  Antonello  da.  At  the  Pourtales  sale,  1865,  a  "  Por- 
trait of  a  Man,"  by  this  painter,  sold  for  £4,450. 

Metzu,  Gabriel.  "Le  Chasseur  Endonni,"  which  is  one  of  the 
best  works  by  this  master,  15  by  11  inches,  was  formerly  in  the 
Fesch  gallery,  and  was  bought  by  Lord  Hertford  for  £3,000.  In  the 
Baring  collection  is  a  chef  d'ceuvre,  called  "  The  Intruder,"  a  gen- 
tleman entering  a  room  where  two  ladies  are  dressing,  and  a  maid 
trying  to  hold  him  back.  It  is  unusually  large,  2  ft.  2^  in.  by  1  ft. 
11^  in.  It  was  sold  in  1830  for  500  guineas.  In  Paris,  1874, 
"  The  Gold  Weigher,"  sold  for  £1,600. 

Mierevelt,  Michael  Janse.  At  the  Papin  sale,  Paris,  1873,  a 
"Portrait  of  a  Young  Girl,"  sold  for  £240. 

Mieris,  Frans  Van.  At  a  London  sale,  1876,  (t  The  Enamored 
Cavalier,"  sold  for  £3,675. 

Mo  ran  do,  Paolo.  In  1867,  a  "  Madonna  and  Child  with  St. 
John,"  by  Morando,  was  purchased  for  the  National  Gallery,  Lon- 
don, for  £900. 

More,  Sir  Anthony.  At  a  Paris  sale,  1873,  a  "Portrait  of  Isa- 
bella of  Valois,"  wife  of  Philip  II.  of  Spain,  sold  for  £724. 

Moroni,  Gio.  Battista.  "  A  Portrait  of  a  Jesuit,"  by  this  painter, 
was  purchased  many  years  since  by  the  Marquis  of  Stafford  for 
£800.  There  is  in  England  a  portrait  of  an  ecclesiastic,  with  a  long 
inscription  and  dated  1584,  which  is  well  authenticated  as  a  Moroni. 
This  proves  the  artist  to  have  lived  beyond  the  time,  1578,  given 
by  Lanzi,  ana  other  writers,  as  the  period  of  his  death.  (See  page 
415.)  At  the  Pourtales  sale,  1865,  a  "  Portrait  of  a  Lawyer,"  was 
purchased  for  the  National  Gallery,  London,  for  £528. 

Mulready,  William.  At  the  Northwick  sale,  Thirlestane 
House,  1859,  "  The  Wounded  at  Waterloo,"  by  this  artist,  sold  for 
30,680  fr. 

Murillo,  Bartolome  Estevan.  In  the  Stafford  House  collection 
is  "  The  Prodigal  Son,"  one  of  the  eight  pictures  executed  by  Mu- 
rillo for  the  church  of  the  Caridad  at  Seville.  It  was  bought  from 
Marshal  Soult  for  11,000  guineas. 

In  the  collection  of  the  Marquis  of  Hertford  is  "  St.  Thomas  of 
Villa  Nueva,  distributing  alms  to  the  sick  and  poor."  It  was  for- 
merly in  the  church  of  the  Franciscans  at  Genoa.  It  is  a  fine  exam- 
ple of  the  second  period  of  this  master.  Its  cost  was  3,000  guineas. 
At  the  Northwick  sale,  Thirlestane  House,  1859,  "Jacob  putting 
the  Rods  into  the  Drinking  Troughs  of  his  Cattle,"  sold  for  36,600 
fr.  In  the  National  Gallery,  London,  is  "  A  Holy  Family,"  which 
cost  4,000  guineas,  and  a  "  St.  John  and  the  Lamb,"  which  cost 
2,000  guineas.  "  The  Young  Beggar  "  and  «  The  Young  Peasant," 
in  the  gallery  of  the  Hermitage,  St.  Petersburg,  were  purchased  in 


APPENDIX.  641 

1772  from  the  sale  of  the  Due  de  Choiseul,  for  4,600  livres.  The 
"  Saint  Pierre  aux  Liens,"  of  the  same  gallery,  was  bought  from 
the  collection  of  Marshal  Soult  for  151,000  fr.  From  the  last 
named  collection  was  also  sold  the  "  Immaculate  Conception  "  of 
the  Louvre  for  the  enormous  sum  of  615,300  fr.  It  had  been  of- 
fered in  England  for  £6,000.  At  the  time  of  the  sale  it  was  be- 
lieved to  be  the  largest  price  ever  paid  for  a  picture.  At  a  sale  in 
London  at  Christie's  in  1860,  another  "  Immaculate  Conception," 
larger  than  that  of  the  Louvre,  was  sold  for  225,000  fr. 

Nasmyth,  Patrick.     At  the  Northwick  sale,  Thirlestane  House, 

1859,  "  A  Gipsy  Camp  in  the  Woods  of  Leigh,"  sold  for  18,900  fr. 
At  the   Gillott  sale,  1872,    "  The  Frith  of  Forth  "   sold   for  1,070 
guineas. 

Neer,  Artus  van  der.  In  the  collection  of  the  Marquis  of  Hert- 
ford, a  picture  by  this  painter,  whose  works  are  rare,  is  very  beau- 
tiful, and  cost  £400.  At  the  Cope  sale,  London,  1872,  "  A  River 
Scene  —  Sunset  "  sold  for  240  guineas.  At  the  Pierard  sale,  Paris, 

1860,  "  A  Grand  Lady,"  by  Eglon  van  der  Neer,  sold  for  3,750  fr. 
Netscher,  Caspar.     In  Paris,  1874,  "  The  Singing  Lesson  "  sold 

for  £528.  In  Amsterdam,  1872,  "  Four  Children  under  an  Archway  " 
sold  for  £1,384.  "Blowing  Bubbles  "  (not  a  foot  square),  dated 
1670,  was  purchased  from  the  gallery  of  the  Duchess  de  Berri 
for  £280. 

Ostade,  Adrian  van.  Sir  A.  Rothschild  bought  from  the  gal- 
lery of  the  Duke  de  Berri,  a  panel  16f  in.  by  22£  in.  for  £928.  It 
represents  two  couples  of  country  people  dancing,  with  several  per- 
sons looking  on,  and  is  a  chef  d'ceuvre  of  this  master.  At  the 
Lehon  sale,  Paris,  1861,  an  Ostade  sold  for  31,400  fr.  At  the 
Forster  sale,  1876,  "  Interior  of  a  Village  Ale  House,"  sold  for 
£3,780.  At  the  Lissengen  sale,  1876,  "The  Card  Players,"  28,100 
fr.  At  a  Paris  sale,  1876,  Lord  Dudley  paid  103,000  fr.  for  the 
"  Interior  of  a  Cabaret,"  by  A.  van  Ostade. 

Pajou,  Augustin.  Baron  A.  Rothschild  bought,  in  1869,  a  marble 
bust  of  Mine.  Le  Brim,  by  this  sculptor,  for  £412. 

Falma,  Vecchio.  At  the  Bromley  sale,  London,  1863,  "  Divine 
:uul  Heathen  Love,"  by  this  painter,  sold  for  420  guineas. 

Palmezzano,  Marco.  At  the  Bromley  sale,  was  also  sold  an 
"  Enthroned  Virgin,"  by  Palmezzano,  for  320  guineas. 

Pannini,  Gio.  Paolo.  At  a  London  sale,  1871,  "Place  Navona, 
Rome  —  during  a  Fete,  1729,"  sold  for  610  guineas. 

Parmigianino,  or  Mazzuoli-  In  the  National  Gallery,  London, 
is  a  "  Virgin  in  Glory,  or  the  Vision  of  St.  Jerome,"  by  this  artist, 
which  Vasari  says  was  painted  in  Rome  in  1527.  (See  page  399.) 
It  was  originally  in  the  church  of  St.  Salvatore  in  Lauro,  at  Cittk 
di  Castello ;  and  after  the  earthquake  in  that  place  was  bought 
by  M.  Durno  for  £6,000.  It  is  11  ft.  6  in.  by  4  ft.  U  in.,  and  fot 
41 


642  APPENDIX. 

size  and  grandeur  of  subject  is  one  of  the  chief  works  of  this  mas- 
ter, although  painted  when  he  was  but  twenty-four  years  old.  A 
very  spirited  original  sketch  of  this  work  is  in  the  Grosvenor  gal- 
lery. 

Pater,  Jean-Baptiste-Joseph.  At  the  sale  of  Lord  Pembroke, 
"  Repose  in  the  Park,"  and  "  Country  Pleasures "  were  sold  for 
30,000  fr.  At  the  Paturean  sale,  "  The  Establishment  of  a  French 
Camp,"  and  "  An  Encampment,"  sold  for  15,100  fr. ;  same  works 
at  the  Norzy  sale,  1860,  for  25,000  fr.  At  the  Veron  sale  "The 
Bathers  "  sold  for  900  fr.  ;  same  work  at  Norzy  sale,  9,600  fr.  In 
1869,  the  "  Concert  Champetre  "  brought  £4,000,  and  at  the  Oppen- 
heim  sale,  1877,  "  The  Repose  in  the  Park"  sold  for  21,300  fr. 

Perugino,  Pietro.  In  1856  "  The  Virgin  Worshipping  the  Infant 
Christ"  was  bought  from  the  Menzi  family  of  Milan,  for  the  Na- 
tional Gallery,  London,  at  £3,571.  In  1863  the  Calcographie  of  the 
Louvre  gave  £800  for  a  plate,  by  Caron,  after  "  The  Virgin  Mary," 
by  Perugino. 

Piombo,  Sebastian  del.  The  very  important  "  Raising  of  Laz- 
arus "  (see  page  456)  was  removed  from  Narbonne  to  the  Orleans 
Gallery.  It  is  said  that  24,000  fr.  were  then  paid  for  it.  When  it 
went  to  England,  with  the  Orleans  Gallery,  Mr.  Angerstein  bought 
it  the  first  morning  of  its  exhibition  for  3,500  guineas.  Later,  Mr. 
Beckford  of  Fonthill  Abbey  offered  Mr.  Angerstein  £15,000  for  it, 
but  Mr.  A.  demanded  as  many  guineas,  and  the  negotiations  failed. 
This  work  was  originally  on  panel,  but  has  been  skillfully  transferred 
to  canvas.  It  is  inscribed  "  SEBASTIANUS  VENETUS  FACIEBAT." 
In  the  Gallery  of  the  Hermitage,  St.  Petersburg,  "  A  Descent  from 
the  Cross  "  was  purchased  from  the  collection  of  King  William  II. 
of  Holland,  for  29,600  florins.  In  the  same  gallery  "  The  Bearing  of 
the  Cross,"  attributed  to  Piombo,  was  from  the  collection  of  Marshal 
Soult  at  41,000  fr.  In  1860  a  "  Holy  Family"  was  brought  from 
Spain  to  Paris,  and  sold  at  auction  for  40,000  fr.  At  the  Pourtales 
sale,  1865,  a  "Portrait  of  the  Young  Duke  of  Urbino  "  (formerly 
attributed  to  Andrea  del  Sarto),  sold  for  £3,720. 

Potter,  Paul.  At  the  Hermitage,  St.  Petersburg,  is  a  "  Halte  de 
Chasseurs,"  by  Potter ;  it  was  purchased  in  1777  for  7,450  livres.  At 
the  same  gallery  is  "  La  Vache  qui  pisse,"  which  was  painted  in 
1649  for  a  Princess  of  Nassau,  who  refused  it  as  indecent.  It  was 
in  the  gallery  at  Malmaison,  and  in  1814  was  valued  at  250,000  fr. 
In  Amsterdam  in  1872,  a  "  Group  of  Pigs  "  sold  for  £705.  In  Sir 
Robert  Peel's  collection  was  a  landscape  with  various  animals,  23  by 
21  inches  in  size,  which  was  purchased  from  the  sale  of  Lord  Gwy- 
dyr,  1829,  for  1,205  guineas. 

Foussin,  Nicolas.  The  "  Seven  Sacraments,"  of  the  Bridge- 
water  (formerly  Stafford)  Gallery,  were  purchased  by  the  Regent, 
Philip,  Duke  of  Orleans,  for  120,000  livres.  The  Duke  of  Bridge- 


APPENDIX.  643 

water  bought  them  from  the  Orleans  Gallery  for  £4,900.  In  Lon- 
don, in  1863,  "  The  Marriage  of  St.  Catherine,"  by  this  painter,  sold 
for  185  guineas.  In  the  National  Gallery,  London,  is  his  "  Dance 
of  Fauns  and  Bacchantes  interrupted  by  a  Satyr,"  on  canvas,  3  ft. 
3  in.  by  4  ft.  8  in.,  painted  for  Cardinal  Richelieu,  in  perfect  pres- 
ervation, bought  of  Mr.  Hamlet  for  £2,000. 

Foussin,  Gaspar.  In  the  Marquis  of  Hertford's  collection  is  a 
tall,  narrow  picture,  a  "  View  of  Tivoli "  (one  of  the  best  of  this 
subject,  which  he  often  painted),  which  was  bought  from  the  collec- 
tion of  Lord  Ashburnham  for  400  guineas.  This  painter  is  a  great 
favorite  in  England,  where  his  name  is  often  coupled  with  that  of 
Claude.  At  the  North  wick  sale,  Thirlestane  House,  1859,  "  A 
Wooded  Landscape  "  sold  for  8,320  fr. 

Previtali,  Andrea.  At  the  Barker  sale,  1874,  "  A  Madonna  and 
Child,  with  St.  John  in  Adoration  "  sold  for  660  guineas. 

Frud'hon,  Pierre.  At  the  Paul  Perrier  sale,  Lord  Hertford  paid 
12,000  fr.  for  a  sketch,  by  this  artist,  of  the  "  Assumption  of  the 
Virgin,"  in  the  Louvre.  At  the  Sommariva  sale,  1839,  his  sketch  of 
"  Venus  and  Adonis  "  brought  8,500  fr. 

Raimondi,  Marc  Antonio.  At  the  Brentano-Birckenstock  sale, 
Frankfort,  1870,  Raimondi's  proofs  sold  as  follows:  "Massacre  of 
the  Innocents,"  £303,  "The  Three  Singers,"  £339,  "God  Com- 
manding Noah  to  Build  the  Ark,"  £340,  "  Portrait  of  Aretino,"  £452, 
"  The  Bacchanal  Orgie,"  £600. 

Raphael.  The  "  Vierge  d'  Albe,"  at  the  Hermitage,  St.  Peters- 
burg, was  purchased  from  the  banker  Coeswelt,  in  London,  in  1836, 
for  350,000  fr.  A  "  Portrait  of  a  Man,"  in  same  gallery,  was  bought 
from  the  collection  of  King  William  II.  of  Holland,  for  16,000  florins. 
"  La  Vierge  de  la  Maison  Orleans,"  sold  in  1828  for  200  guineas ; 
in  1869  the  Duke  d'Aumale  paid  £6,000  for  it.  The  National  Gal- 
lery, London,  bought  from  Lord  Garvagh  "  The  Virgin,  Child,  and 
St.  John  "  for  £9,000.  At  the  Museum  of  Lille  there  is  a  bust  in 
wax  which  is  attributed  to  Raphael. 

Rembrandt  van  Ryn.  At  Buckingham  Palace  is  a  picture  of 
a  "  Shipbuilder  making  a  Drawing  of  a  Ship,  and  his  Wife  with  an 
Open  Letter,"  —  the  figures  are  to  the  knees,  —  on  canvas,  3  ft.  10 
in.  by  8  ft.  6  in.  In  1810  it  was  sold  from  the  collection  Smeth 
Van  Alpen  for  16,500  florins.  It  is  dated  1633.  In  the  same  palace  a 
portrait  of  a  woman,  dated  1641,  3  ft.  5^  in.  by  2  ft.  8£  in.,  on  can- 
vas, was  bought  for  1,000  guineas.  Same  palace,  "  The  Adoration 
of  the  Kings,"  dated  1657,  on  panel,  about  4  ft.  by  3  ft.  5  in.,  was 
bought  in  1815  for  70,000  fr.  In  the  Lansdowne  collection,  a  por- 
trait of  the  artist,  painted  by  himself  late  in  life,  formerly  in  the 
Danoot  collection  at  Brussels,  bought  by  Lord  Lansdowne  for  £800. 
In  the  Lansdowne  collection  (Bowood)  was  also  "Rembrandt's  Mill," 
from  the  Orleans  Gallery,  for  which  800  guineas  were  paid.  In  the 


644  APPENDIX. 

Amsterdam  Museum  there  is  a  portrait  of  a  lady,  said  to  be  that  of 
Saskia  Nilenberg,  the  first  wife  of  the  artist.  It  was  bought  from 
the  sale  of  King  William  II.  of  Holland,  1850,  for  7,850  fr.  At  a 
sale  at  Christie's,  in  1860,  two  portraits  by  Rembrandt,  dated  1634, 
were  bought  by  Mr.  Fisher  for  46,500  fr.  At  the  De  Morny  sale, 
1865,  "A  Portrait"  sold  for  £6,200.  In  1867  "Christ  Blessing 
Little  Children  "  sold  for  £7,000.  At  the  Lissengen  sale,  Paris, 
1876,  Mr.  John  W.  Wilson  bought  a  "  Portrait  of  a  Man,"  by  this 
painter,  for  170,000  fr.  At  the  Schneider  sale,  Paris,  1876,  the  por- 
traits of  Pastor  Ellison  and  his  wife  were  bid  off  for  £2,600,  and 
£2,000.  It  was  understood  that  they  were  bought  in.  An  engrav- 
ing of  the  Burgomaster  Six,  by  Rembrandt,  after  his  own  design, 
has  been  sold  for  5,500  fr. 

Reni,  Guido.  A  "  St.  Joseph,"  by  Guido,  at  the  Hermitage,  St. 
Petersburg,  was  sold  from  the  collection  of  King  William  II.  of  Hol- 
land, 1850,  for  7,900  florins.  At  the  Northwick  sale,  Thirlestane 
House,  1859,  "  An  Angel  appearing  to  St.  Jerome  "  sold  for  9,100 
fr.  At  a  London  sale,  1872,  a  rare  impression  of  the  "  Aurora," 
by  Morghen,  and  signed  by  the  engraver  himself,  sold  for  105  guin- 
eas. 

Reynolds,  Sir  Joshua.  At  a  sale  at  Christie's,  in  1873,  a  "  Por- 
trait of  Mrs.  Morris,"  by  Sir  Joshua  Reynolds,  sold  for  5,450  guin- 
eas. At  the  same  place,  in  1874,  "Mrs.  Hartley  and  Child"  sold 
for  2,395  guineas.  Portrait  of  Edmund  Burke  for  1,000  guineas. 

Robert,  Leopold.  At  the  Paturle  sale,  Paris,  1872,  "  The  Fish- 
ers of  the  Adriatic,"  by  Robert,  sold  for  £3,320.  It  was  dated  1834. 
Understood  to  be  bought  for  the  Neuchatel  Museum. 

Romano,  Giulio.  At  the  Northwick  sale,  Thirlestane  House, 
1859,  "  The  Birth  of  Jupiter  "  sold  for  24,700  fr. 

Romney,  George.  At  a  London  sale,  1871,  a  "  Portrait  of  a 
Young  Lady  "  sold  for  £136.  At  Christie's,  in  1873,  "  Portrait  of 
John  Wesley  "  brought  530  guineas. 

Rosa,  Salvator.  At  Lord  Ashburnham's  sale  Lord  Hertford  paid 
1,700  guineas  for  a  large  landscape  with  Apollo  and  the  Sibyl  in  the 
foreground.  It  formerly  belonged  to  M.  Julienne. 

Rubens,  Peter  Paul.  At  the  National  Gallery,  London,  is  the 
celebrated  "  Peace  and  War,"  painted  for  Charles  I.  in  1630.  When 
the  collection  of  this  king  was  dispersed  the  picture  was  added  to 
the  Doria  Gallery  at  Genoa.  In  1802  Mr.  Irvine  bought  it  for 
£1,100.  In  the  same  year  the  Marquis  of  Stafford  .paid  £3,000  for 
it,  and  in  1827  presented  it  to  the  National  Gallery.  The  his- 
tory of  the  famous  "  Chapeau  de  Paille  "  is  interesting.  There  is  a 
tradition  that  Rubens  fell  in  love  with  the  subject  of  the  picture 
while  painting  it,  and  would  never  part  with  it.  After  the  death 
of  the  widow  of  Rubens  it  came  into  the  possession  of  the  Lun- 
den  family,  and  in  the  year  1817  was  sold  by  one  of  the  heirs  of 


APPENDIX.  645 

that  family,  M.  Van  Haveren,  to  another  of  the  relatives,  M.  Stiers 
d'Artselaer,  at  whose  death  in  1822  it  was  sold  at  auction  in  Ant- 
werp. M.  Nieuwenhuys  bought  it  for  about  £3,000.  The  following 
year  it  was  exhibited  in  London,  and  about  20,000  persons  went  to 
see  it.  Sir  Robert  Peel  bought  it  for  £3,500  (it  is  said),  which  was 
then  the  highest  price  ever  paid  for  a  half-length  portrait.  Sir  Rob- 
ert Peel  also  bought  "  The  Drunken  Silenus,"  on  canvas,  4  ft.  7  in. 
by  6  ft.  6  in.,  eight  figures.  This  work  was  owned  by  Rubens  at 
his  death.  Cardinal  Richelieu  bought  it  in  1642.  It  afterwards 
passed  through  the  following  galleries  :  the  Orleans,  De  Tartre,  Lu- 
cien  Bonaparte,  and  Bonnemaison.  Sir  Robert  Peel  paid  £1,100 
for  it.  In  Lord  Ashburton's  collection  "  The  Wolf  Hunt,"  cele- 
brated for  its  spirit,  and  containing  the  portraits  of  the  artist  and 
his  first  wife,  Catherine  Brandt,  was  painted  in  161 2  for  the  Spanish 
General  Legranes.  It  was  inherited  by  Count  Altamira,  and  was 
sold  in  1824  to  Mr.  Smith,  picture-dealer,  for  50,000  fr.  It  is  on 
canvas,  6  ft.  7  in.  by  9  ft.  2  in.  The  Marquis  of  Hertford  paid 
3,000  guineas  for  a  "  Holy  Family  "  which  was  presented  to  M. 
Burtin,  of  Brussels,  by  the  Emperor  Joseph.  It  passed  into  the 
Lapeyriere  collection.  In  the  Rubens  Room  at  Windsor  Castle  are 
ten  pictures  by  this  master ;  among  them  a  splendid  portrait  of 
Helena  Formann,  his  second  wife,  for  which  George  IV.  paid  800 
guineas  in  1820.  At  a  sale  at  Christie's,  in  1860,  "  A  Family  in  an 
Interior,"  called  the  Balthazar  family,  was  sold  to  Mr.  Ward  for 
187,000  fr.  In  Paris,  in  1873,  three  half-length  figures  called  the 
"  Magi  "  were  bought  by  Mr.  John  W.  Wilson  for  46,500  fr.,  30,600 
fr.,  and  10,600  fr. 

Ruysch,  Rachel.  At  a  London  sale,  in  1876,  "  A  Bouquet  of 
Flowers  with  Insects  "  sold  for  £420. 

Ruysdael,  Jacob.  "  The  Cascade "  in  the  gallery  of  the  Duke 
de  Morny,  1863,  was  sold  at  the  Meffre  sale  for  11,500  fr.  At  the 
Patureau  sale,  a  "  View  in  Norway  "  sold  for  6,800  fr.  Same  work 
at  the  Pierard  sale  brought  12,600  fr.  At  the  Foster  sale,  London, 
1876,  "  The  Mill"  sold  for  £1,837.  At  Amsterdam,  in  1872,  "A 
Landscape  with  a  Waterfall"  sold  for  £2,275. 

Sarto,  Andrea  del.  The  Marquis  of  Hertford  paid  £1,260  for 
"  The  Virgin,  Infant  Jesus,  St.  John,  and  the  Angels."  £2,600 
w (•!•(•  paid  for  the  Madonna  of  the  Berlin  Museum. 

Scheffer,  Ary.  In  the  Pereire  collection  was  "  Margaret  at  the 
Fountain,"  which  cost  25,000  fr.  At  the  San  Donate  sale  "  Fran- 
cesca  da  Rimini"  sold  for  100,000  fr. 

Signorelli,  Luca.  At  the  Barker  sale,  1874,  "The  Triumph  of 
Chastity  "  sold  for  800  guineas. 

Stanfield,  Clarkson.  At  a  London  sale,  1872,  "The  Morning 
after  the  Wreck  "  sold  for  2,800  guineas. 

Steen,  Jan.     Sir  Robert  Peel  had  in  his  collection  "  A  Young 


646  APPENDIX. 

Girl  Sitting  at  a  Harpsicord,"  inscribed  "Johannes  Steen,  167!," 
which  was  purchased  at  auction  in  Paris,  1818,  for  7,740  fr.  At 
the  Cope  sale,  1872,  "An  Interior  "  sold  for  1,018  guineas.  At  a 
London  sale,  1876,  "Bad  Company"  sold  for  £998. 

Terriers,  David.  At  the  sale  of  the  Duke  de  Berri  "  The  Mar- 
ket at  Ghent,"  on  wood,  34  by  45  inches,  was  sold  for  £666.  It  is 
a  chef  cT  ceuvre,  rich  in  composition,  delicate,  clear,  and  tender.  It 
was  much  praised  by  Waagen  when  he  saw  it  in  the  collection  of 
Mr.  Heusch,  1851.  Two  u  Village  Fetes  "  in  the  Hermitage,  at  St. 
Petersburg,  were  bought  in  1772,  at  the  sale  of  the  Duke  de  Choiseul, 
for  37,400  livres.  At  the  Northwick  sale,  Thirlestane  House,  1859, 
"The  Laboratory  of  an  Alchemist"  sold  for  17,550  fr.  At  the 
Pierard  sale,  1860,  a  "Village  Kermesse  "  sold  for  22,600  fr.,  and 
the  "  Village  Cabaret "  for  14,100  fr.  The  "  Flemish  Feast,"  Teniers 
himself  being  the  host,  and  his  wife  and  daughters  also  represented, 
was  bought  for  the  Brussels  Museum  in  1867,  for  125,000  fr. 

Teniers,  The  Younger.  Lord  Hertford  paid  £720  for  "L'  Homme 
a  la  Chemise  Blanche,"  by  this  artist. 

Terburg,  Gerard.  At  the  Pierard  sale,  1860,  "  A  Young  Lady  " 
sold  for  5,300  fr.  At  the  Lehon  sale,  1861,  "  The  Visit  "  sold  for 
10,900  fr.  At  the  sale  of  the  Duchess  de  Berri  the  "  Congress  of 
Munster  "  sold  for  £1,450,  and  the  same  picture  at  the  San  Donate 
sale,  1868,  brought  £7,280.  At  the  Schneider  sale,  1876,  "The 
Prodigal  Son  "  sold  for  £5,200. 

Titian.  When  the  chateau  of  Blenheim,  owned  by  the  Duke  of 
Marlborough,  was  burned  in  1861,  nine  works  by  Titian  were  de- 
stroyed. These  pictures  had  been  given  to  the  famous  Duke  of 
Marlborough  by  Victor  Amadeus,  of  Sardinia.  The  "  St.  Peter 
Martyr  "  (see  page  575)  was  destroyed  in  the  church  of  SS.  Giovan- 
ni 'e  Paolo,  in  1868.  The  Museum  of  Florence  had  for  a  long  time 
possessed  an  excellent  copy  of  this  work,  which  was  presented  by 
the  authorities  of  the  Museum  to  the  Venetians,  in  order  to  make 
good  their  loss,  as  far  as  possible.  The  famous  "  Danae  "  was  pur- 
chased by  the  Emperor  of  Russia  for  600,000  fr.  The  Marquis  of 
Hertford  paid  £546  for  the  "  Tarquin  and  Lucretia,"  formerly  in  the 
collections  of  Charles  L,  Joseph  Bonaparte,  and  Mr.  Coningham. 
The  Calcographie,  Louvre,  paid  £480  for  a  plate  by  Thevenin,  after 
the  "  Marquis  del  Guasto  "  of  Titian. 

Vandyck,  Sir  Anthony.  At  a  sale  at  Christie's,  in  1860,  "  The 
Portrait  of  Snyders,  his  Wife  and  Child  "  sold  for  25,000  fr.  At  a 
Paris  sale  in  1874,  a  "  Portrait  of  Martin  Pepyn  "  sold  for  £1,240. 
At  a  Brussels  sale  in  1876,  the  following  etchings  by  Vandyck  were 
sold  :  "  Portrait  of  Vandyck,  Painted  by  himself,"  very  rare  speci- 
men, £880  ;  "  Philippe  le  Roi,"  head  only,  £820 ;  "  J.  Momper, 
Dutch  Painter,"  £420  ;  "  Paul  Pontius,  or  Du  Pont,"  £20  ;  "  Sny- 
ders," £500  ;  "  Suttermans,"  £444  ;  "  Peter  Breughel,"  £264. 


APPENDIX.  647 

Velasquez,  Diego  Rodriguez  y  Silva.  At  the  Hermitage,  St. 
Petersburg,  are  the  portraits  of  "  Philip  IV."  and  the  "  Duke  of 
Olivares,"  by  Velasquez.  They  were  purchased  from  the  collection 
of  King  William  II.  of  Holland,  for  38,850  florins.  At  the  North- 
wick  sale,  Thirlestane  House,  1859,  an  "  Equestrian  Portrait  of  San 
Luis  de  Haro,"  was  bought  by  Baron  James  de  Rothschild  for 
32,920  fr. 

Velde,  Willem  van  de.  At  a  London  sale  in  1876,  "  Sea  dur- 
ing a  Fresh  Breeze  "  sold  for  £735.  At  the  Foster  sale,  1876,  "  A 
Calm  "  brought  £2,062. 

Velde,  Adrian  van  de.  In  the  Pereire  collection,  "  A  Pastoral," 
by  this  artist,  from  the  Rhone  sale,  cost  11,200  fr. 

Vernet,  Claude  Joseph.  At  the  Delessert  sale,  Paris,  1869,  "  An 
Italian  Harbor,"  by  this  painter,  sold  for  £340. 

Vinci,  Leonardo  da.  At  the  Royal  Academy,  London,  there  is  a 
copy  of  the  "  Last  Supper  "  which  is  very  interesting.  It  is  the 
size  of  the  original,  and  was  made  by  Marco  Oggione,  one  of  the 
pupils  of  Leonardo.  It  was  formerly  in  the  Certosa  at  Pavia ;  dur- 
ing the  Revolution  it  passed  into  the  hands  of  a  Frenchman  ;  alter 
the  Restoration  it  was  purchased  by  the  Academy  for  £600.  In 
1860  the  Emperor  of  Russia  purchased  a  "  Saint  Sebastian  "  for 
60,000  fr.  At  the  Pourtales  sale,  1865,  a  "  Madonna  and  Child  " 
sold  for  £3,340.  In  1864,  in  Paris,  an  engraving  by  Morghen,  af- 
ter the  "  Last  Supper,"  by  Leonardo,  sold  for  £164. 

Watteau,  Antoine.  "  Le  Rendez-vous  de  Chasse  "  was  sold  at 
the  sale  of  Cardinal  Fesch  for  15,000  fr.,  and  at  the  De  Morny  sale, 
1852,  the  same  work  brought  25,000  fr.  At  the  Norris  sale,  Lon- 
don, 1878,  "  Les  Delices  de  la  Campagne"  brought  £1,180. 

Weenix,  Jan.  At  a  sale  at  Christie's,  in  1860,  "  Dead  Nature," 
by  Weenix,  brought  18,500  fr.  At  the  Lehon  sale,  1861,  "  A  .Mag- 
pie Teasing  a  Dog  who  Guards  some  Game  "  (among  which  is  the 
traditional  hare)  sold  for  15,000  fr.  At  the  Schneider  sale,  1876, 
"  Still  Life  with  Fruits  "  sold  £884. 

Wilkie,  Sir  David.  At  the  Moore  sale,  1872,  "  The  Cotter's  Sat- 
urday Night "  sold  for  590  guineas,  and  the  "  Only  Daughter,"  for 
630  guineas.  At  the  Knowles  sale,  the  "  Errand  Boy,"  a  small  cab- 
inet picture,  brought  1,050  guineas. 

Witte,  Emanuel  de.  In  Amsterdam,  in  1872,  the  "Interior  of  a 
Church  "  sold  for  £2,475. 

Wouvermans,  Philip.  u  A  Falcon  Hunting  Party,—  Halt,"  on 
wood,  22£  by  26  in.,  sold  at  the  sale  of  the  Duke  de  Berri,  in  1837, 
for  £735.  The  "  Course  au  Cerf,"  at  the  Hermitage,  St.  Peters- 
burg, was  bought  at  the  sale  of  the  Due  de  Choiseul,  in  1772,  for 
20,700  livres.  "  A  River  on  Each  Side  of  which  Merchandise  is 
being  Taken  from  Boats  "  sold  from  the  Crozat  collection  for  1,230 
livres,  and  from  the  Meffre  sale  for  40,000  fr.  At  a  London  sale, 
u  View,  1876,  on  a  Canal  in  Holland,"  £1,102. 


648  APPENDIX. 

Wynants,  Jan.  A  small  picture  on  panel,  11^  by  15  in.,  with 
figures  by  Adrian  van  de  Velde,  was  sold  in  1826  for  255  guineas. 
It  was  in  the  collection  of  Sir  Robert  Peel.  At  the  Delessert  sale, 
1869,  one  of  Wynants'  works  sold  for  £2,040.  At  the  Schneider 
sale,  1876,  "  A  Landscape  "  sold  for  £1,480. 


GENERAL  INDEX. 


PAGE 

Agnes  Sorel,  Portrait  of.    See  Foucquet 282 

Alcibiades,  Pictures  of.     See  Aglaophon 8 

Aldobrandini  Marriage,  The 20 

Apollo  Belvedere,  The.     See  Agasias 5 

Baptistery  of  Florence,  Gates  of.    See  Ghiberti 296 

Barberini  Faun,  The.     See  Bouchardon 128 

Bell  Tower  of  S.  Maria  del  Fiore,  The.    See  Giotto 306 

Bellini  Jacopo,  Sketch-book  of 90 

Borghese  Gladiator,  The.     See  Agasias 5 

Boy  with  a  Goose.     See  Boethus 115 

Brancacci  Chapel,  The.     See  Buonarotti 142 

Brunelleschi,  Anecdote  of                                    .  < 138 

Bunker  Hill  Monument.     See  Greenough 315 

Calendar  of  Basilius  II.     See  Blachernita 110 

Cartoons  of  Michael  Angelo  and  Leonardo.     See  Buonarotti        .        .    146, 147 

Chiaro-scuro,  Discovery  of.     See  Apollodorus 48 

Conchillos,  Anecdote  of.     See  March 390 

Corinthian  Capital,  Invention  of  the.     See  Callimachus          .        .        .        173 
Cromwell,  Anecdote  of.    See  Lely 362 

Discobolus,  Statue  of.    See  Myron 423 

Donatello,  Anecdote  of.     See  Brunelleschi  .......    138 

Dying  Gladiator,  The.     See  Buonarotti 161 

Ecclesiastical  Robes.     (Imperial  Treasury,  Vienna.)    See  Jan  van  Eyck  .    269 

Kgyptian  Obelisk,  The.     (Rome.)    See  Fontana 280 

Etching  on  Stone.    See  Senefelder 548 

Farnese  Breviary,  The.     See  Clovio          .......  213 

Kariu-se  Bull,  The.     See  Apollonius 49 

Farnese  Hercules,  The.     See  Glycou 310 

Fiiiigiu-rra  1'iix,  The.     See  Finiguerra 277 

Fontana  dcUa,  Tartarughe,  The.     See  Landini 359 

Fountain  of  Grenelle,  The.     See  Bouchardon 128 

Gardens  of  S.  Marco,  The.     See  Buonarotti 141, 143 

Germanicus,  Statue  of.     See  Cleomenes       .        .        .        .        .        •  .211 

Great  Fire  in  Boston 282,376 

Grimani   Breviary,    The.     (Venice.)     See   Memling     403 ;  mentioned,  295, 400 


650  GENERAL  INDEX. 

PACE 

Intaglios,  minute  and  remarkable.    See  Properzia  de'  Rossi  .        .        .  519 

Laocoon,  The.     See  Agesander,  7.    Fine  plate  of.     See  Bervic,  107;  men- 
tioned, 146,  205 

Liber  Veritatis.    See  Earlom 262 

Liber  Veritatis.     See  Lorraine  ....<,....  376 

Lo  Spasimo  di  Sicilia.     See  Raphael 477 

Lyversberg  Passion,  The.    See  Meckenen 399 

Mask  of  a  Faun,  The.     See  Buonarotti 141 

Michael  Angelo's  David.     See  Botticelli 128 

Michael  Angelo's  Last  Judgment.     See  Buonarotti     .        .        .     158, 159,  163 

Michael  Angelo's  Moses.     See  Buonarotti 157 

Marble  Tiles.     See  Byzes 166 

Mausoleum  of  Hadrian.     See  Antonio  di  Sangallo          ....  535 

Mercury,  The.     See  Gio.  Bologna 117 

Missal,  The  Illuminated.     (Brussels.)     See  Attavante     .  .57 

Mosaics  in  S.  Peter's.    See  Calandra 171 

Navicella,  The.    See  Giotto 307 

Nuptials  of  Alexander  and  Roxana.     See  Aetion 4 

Parthenon,  The.     See   Ictinus .                346 

Philip  II.  and  Morales,  Anecdote  of 412 

Place  du  Carrousel,  The.     See  Bosio         .......  126 

Place  Vendome.     See  Bergeret  and  Bosio 102,  126 

Place  des  Victoires,  The.     See  Bosio 126 

Porticos  of  Agaptos,  The 5 

Praxiteles,  Statues  by 469 

Praying  Boy,  The.    See  Boedas 115 

Rape  of  the  Sabines,  The.     See  Gio.  Bologna 117 

Rembrandt's  Prints,  Copies  of.     See  Baillie 65 

Rhamnusian  Nemesis,  The.     See  Agoracritus 10 

Shakespeare  Gall«»  Account  of.     See  Boydell 130 

S.  Mark's,  Venice;  Porticos  around  Square  of.    See  Calendario     .        .  172 

Statue  of  Bavaria  (colossal).     See  Schwanthaler 546 

Tenebrario,  The.     See  Morel    .        . 413 

Torso  of  Hercules,  The.    See  Apollonius 49 

Vittoria  Colonna.     See  Buonarotti 159, 160 

Venus  Anadyomene,  The.    See  Apelles 48 

Venus  coming  from  the  Bath.     See  Gio.  Bologna 117 

Venus  de'  Medici,  The.     See  Cleomenes 211 

Vera  Icon,  The.     (Prague.)    See  Mutina  423 


NAMES  OF  ARTISTS,  AUTHORS,  AMA- 
TEURS, ETC. 


Aalst,  1,  629. 

Abate,  Andrea,  1. 

Abbate,  Niccolo,  1. 

Abbiati,  Filippo,  2. 

Abbot,  Lemuel,  2. 

Abel,  2. 

Abildgaard,  Nikolai,  2. 

Abshoven  or  Apshoven,  2. 

Acevedo,  Cristobal,  2. 

Achen  or  Ach,  Hans  van,  3. 

Achtschelling,  Lucas,  .3. 

Acosta,  Cayetano,  3. 

Adda,  Conte  Francesco  d',  3. 

Adolfi,  3. 

Adriano,  3. 

Adrianssen,  Alexander,  4. 

Aelst.     See  Aalst. 

Aerts,  Richard,  4. 

Aertszen,  Pieter,  or  Lange  Peer,  4. 

Aetion,  4. 

Afesa,  Pietro,  5. 

Agabiti,  Pietro  Paolo,  5. 

Agaptos,  5. 

Agar,  Jacques  d',  5. 

Agusias,  5. 

AgaiharetM,  6. 

Ageladas,  7. 

Agesander,  7. 

Agi,  Andrea  Cardelle,  8. 

Agluophon,  8. 

Aglio,  Andrea  Salvatore,  8. 

Agnolo,  Sculptor.     See  Agostiuo. 

Agnolo,  8,  9. 

Agoracritus,  9. 

A-rostiiio,  10. 

Agresti,  Livio,  11. 

Agricohi,  Christopher  Ludwig,  11. 

A mi:i,  Bernardino  del,  11. 

A^IHTO,  Benito  Manuel  de,  11. 

Agui;ir,  Tomas  de,  11. 


Aguirre,  Francisco  de,  11. 

Aiuemolo,  Vincenzo,  12. 

Aikman,  William,  12. 

Aken,  Joseph  van,  12. 

Akerboom,  12. 

Akers,  Benjamin,  12. 

Alba,  Macrino  d',  13. 

Albani,  13,  16. 

Alberelli,  Giacomo,  16. 

Alberici,  Enrico,  16. 

Albertiuelli,  Mariotto,  16. 

Alberti,  17,  18. 

Albertoni,  Paolo,  18. 

Albertus,  H.  C.,  18. 

Albini,  Alessandro,  18. 

Alcamenes,  19;  mentioned,  10. 

Aldegrever,  Heinrich,  19,  629. 

Aldighiero  or  Altichiero,  20. 

Aldrovandini,  20. 

Aleman,  Cristobal,  21. 

Alen  or  Olen,  Jan  van,  21. 

Aleni,  Tommaso,  21. 

Alesio.  Mateo  Perez  de,  21. 

Alexander,  Francis,  21. 

Alfani,  21,  22. 

Alfaro,  Don  Juan,  22. 

Alfon,  Juan,  23. 

Algardi,  Alessandro,  23. 

Algarotti,  mentioned,  169. 

Aliamet,  23. 

Aliberti,  Gio.  Carlo,  23. 

Alibrandi,  Girolamo,  23. 

Aliense.     See  Vassilacchi. 

Allan,  23. 

Allegri,  24,  28,  629. 

Allegrini,  Francesco,  29- 

Allet,  Jean  Charles,  29 

Alloisi.     See  Galanino. 

AUori,  29, 629. 

Allston,   Washington,    30;     mentioned, 

384,  552,  629. 
Almeloven,  John,  34. 


652 


NAMES   OF  ARTISTS,   AUTHORS,   ETC. 


Alsloot,  34. 

Altamonte,  Martin,  34. 
Altdorfer,  Albrecht,  34. 
Altham,  36. 

Altissirao,  Cristofano,  36. 
Alunno,  Niccolo,  36. 
Amalteo,  37. 
Amato,  37. 
Amatrice,  37. 
Amaya,  37. 
Amberes,  38. 

Amberger,  Christopher,  38. 
Ambrogi,  Domenico,  38. 
Amelsfoort,  Quirinus,  38. 
Amerighi,  M.  A.,  38. 
Ames,  Joseph,  39. 
Amici,  Francesco,  40. 
Amiconi,  40. 
Amidano,  Pomponeo,  40. 
Amigazzi,  Gio.  Batista,  40. 
Amling,  Carl  Gustavus,  40. 
Amman,  40,  41. 
Ammanati,  Bartolomeo,  41. 
Ammon,  41. 
Amorosi,  41. 

Amory,  Mrs.  James  S.,  mentioned,  218. 
.Amstel,  Cornelius  Ploos  van,  41. 
Anchilus,  N.,  42. 
Ancona  or  Anconitauo,  42. 
Anderlini,  D.,  42. 
Anderloni,  42. 
Anderson,  42. 
Anderton,  Henry,  42. 
Andre,  Jean,  42. 
Andrea,  42,  43. 
Andrea  del  Sarto.     See  Sarto. 
Andreani,  Andrea,  43. 
Andreasi,  Ippolito,  43. 
Andriessen,  43. 
Andrioli,  Girolamo,  43. 
Andriot  or  Handeriot,  43. 
Aneda,  Juan  de,  43. 
Anesi,  Paolo,  43. 
Angeli  or  Angelis,  43,  44. 
Angelico,  Fra.     See  Fiesole. 
Angelini,  Scipione,  44. 
Angelo,  M.    See  Buonarotti;  mentioned, 

456,  457,  535,  579. 
Angelo,  44. 
Angiers,  Paul,  44. 
Angioletto,  44. 
Angnier,  44,  45. 
Anguisciola  or  Angosciola,  45. 
Angus,  William,  46. 
Anichini,  46. 
Anjou,  Rene"  d',  46. 
Anna,  Baldassare  d',  46. 
Ansaldo,  Gio.  Andrea,  46. 


Ansaloni,  Vinceuzio,  46. 
Anselin,  Jean  Louis,  46. 
Anselmi,  46. 
Ansiaux,  47. 
Antelami  or  Antelmi,  47. 
Antbemius,  47. 
Antiquus,  47. 
Antolinez,  47. 

Antouello  da  Messina.     See  Messina- 
Antonio,  Marc.     See  Kaimondi. 
Antonio,  Pedro,  48. 
Antonisze,  Cornelius,  48. 
Apelles,  48,  629. 
Apollodorus,  48. 
Apollonio,  49. 
Apollonius,  49. 
Appelius,  Jean,  49. 
Appelman,  Bernard,  49. 
Appiani,  50. 

Appleton,  Mr.,  mentioned,  302. 
Appleton,  Hon.  Nathan,  mentioned,  30= 
Aquila,  50. 

Araldi,  Alessandro,  50. 
Arbasia,  Cesare,  51. 
Arce,  Josef  de,  51. 
Archer,  Wykeharn,  51. 
Arcirnboldi,  Giuseppe,  51. 
Arco,  Alonso  del,  51. 
Ardell,  James  Me,   51. 
Ardemans,  Teodoro,  52. 
Ardente,  Alessandro,  52. 
Aregio,  Pablo  de.  52. 
Arellano,  Juan  de,  52. 
Aretino,  Spinello,  52. 
Aretino,  mentioned,  378,  448,  514,  572. 
Aretusi,  Cesare,  52. 
Arevalo,  Juan  Cano  de,  53. 
Artian,  Antonio  de,  53. 
Arias,  Fernandez  Antonio,  53. 
Ariosto,  mentioned,  572. 
Aristeides,  54,  629. 
Arland,  James  Anthony,  54. 
Armanno,  Vincenzio,  54. 
Arnolfo,  54. 
Arpino,  54. 

Arredondo,  Don  Isidore,  54. 
Arteaga  y  Alfaro,  Matias,  54. 
Artois,  Jacob  van,  55. 
Asper,  Hans,  55 
Aspertini,  55. 
Asschef  Henri  van,  56. 
Asselyn,  Jan,  56,  629. 
Assen,  Jan  Walther  van,  56. 
Asserreto,  Giovacchino,  56. 
Asta,  Andrea  dell',  56. 
Astley,  John,  56. 
Athanasio.     See  Boccanegra. 
Athenodorus.     See  Agesander. 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


653 


Attavante  or  Vante,  57. 

Attiret,  Jean  Deuis,  57. 

Aubert,  57. 

Aubin,  57,  58. 

Aubriet,  Claude,  58. 

Audenaerde  or  Oudenaerde,  58. 

Audouin,  Pierre,  58. 

Audran,  58,  59. 

Audubon,  John  James,  60,  629 

Augur,  Hezekiah,  60. 

Austin,  William,  60. 

Auzon,  Madame,  60. 

Avanzii  or  Avanzi,  60. 

Aved,  Jacques  Antoine  Joseph,  60. 

Aveline,  60,  61. 

Avellino,  61. 

Avibus,  Caspar  ab,  61. 

Avoajardo,  Pietro,  61. 

Avont,  Peter  van  der,  61. 

Avril,  61. 

Axtmann,  Leopold,  61. 

Ayala.  Barnabi  de,  61. 

Azzolini  or  Mazzolini,  61. 

B. 

Baader,  Amalie,  62. 
Baak,  Hattigh  Jan,  62. 
Baan,  John  de,  62. 
Baccarini,  Jaoopo,  62. 
Baccicio.     See  Gaulli. 
Baccio.     See  Delia  Porta. 
Bacheley,  Jacques,  62. 
Bachelier,  62,  63. 
Bachiaca.     See  Ubertino. 
Backereel,  Giles,  63. 
Backhuysen,  63,  630. 
Baerse,  Jacques  de  la,  63. 
Baglioni,  64. 
Bagnacavallo,  II,  64. 
Baillie,  Captain  William,  64. 
Bailii,  David,  65 
Baillu,  65. 

Bajardo,  Gio.  Batista,  65. 
Bakker,  65. 
Baldi,  Loxzaro,  65. 
Baldovinetti,  Alessio,  65. 
Baldrighi,  Giuseppe,  66. 
Balducci,  Gio.,  66. 
Baldung,  Hans,  66. 
Balechou,  Jean  Jacques,  67. 
Balen,  Heinrich  van,  67. 
Balestra,  Antonio,  67. 
Balkema,  mentioned,  424. 
Halt/,,  J.  Georges,  67. 
Bambini,  67. 

Bamboccio.     See  Peter  de  Laer. 
Banck,  Peter  van  der,  67. 


Bandinelli,  Baccio,  67. 

Banks,  Thomas,  68. 

Baptiste.     See  Mounoyer. 

Barabbino,  Simone,  68. 

Barbalunga.    See  Ricci. 

Barbarelli.     See  Giorgione. 

Barbaris,  Jacopo  de,  68. 

Barbary,  Jacob  da,  69. 

Barbatelli,  Bernardino,  69. 

Barbello,  Gio.  Giacomo,  69. 

Barbiani,  69,  70. 

Barbier-Walbonne,  Jacques  Luc,  70. 

Barbiere,  Domenico  del,  70. 

Barbieri,  70. 

Barca,  Don  Vicente  Calderon  de  la,  70. 

Bardin,  Jean,  70. 

Barker,  Robert,  70. 

Barnuevo,  Don  Sebastian  de  Herrera,  70. 

Baroccio,  Federigo,  70. 

Baron,  72. 

Barozzo,  Jacopo,  72. 

Barret,  George,  72. 

Barry,  James,  73. 

Bartholomew,  Edward  Sheffield,  73. 

Bartoli,  Pietro  Sante,  74. 

Bartolin  of  Piacenza,  74. 

Bartolini,  74. 

Bartolo,  74,  75. 

Bartolommeo,  Fra.     See  Porta,  Baccio 

della. 

Bartolozzi,  Francesco,  75. 
Bartsch,  Adam,  75;  mentioned,  69,  188, 

286,  294,  366,  372,    389,  390,  409, 

445,  448,  553,  562,    579,  582,  602, 

615,  617. 

Bas,  Jacques  Philippe  le,  75. 
Basaiti,  Marco,  75. 
Basili,  Pier  Angiolo,  76. 
Bassano,  76,  77. 
Bassen,  Bartholomew  van,  77. 
Basseporte,  Frances  Magdalene,  77. 
Bassetti,  Marc  Antonio,  77. 
Bassi,  77. 

Bast,  Dominic  de,  78. 
Bastaro,  Giuseppe  del,  78. 
Bastaruolo,  II.     See  Mazzuoli,  Filippo  or 

Giuseppe. 

Batoni  or  Battoni,  Pompeo,  78. 
Battiferri,  Laura,  mentioned,  41. 
Baudet,  Stephen,  78. 
Bauduins,  Anthony  Francis,  78. 
Baur,  78,  79. 
Bausa,  Gregorio,  79. 
Bayeu  y  Subias,  Don  Francisco,  79. 
Bayeu.  Don  Raymon,  79. 
Bazin,  Nicholas,  79. 
Bazzani,  Giuseppe,  79. 
Bazziacaluve,  Ercole,  79. 


654 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


Bazzi  or  Razzi,  Giauantonio,  79. 

Beale,  80. 

Beatrici,  Niccolo,  80. 

Beaumont,  83. 

Beauvais,  Nicholas  Dauphin  de,  83. 

Beauvarlet,  James  Firmin,  83. 

Beccafumi,  Domenico,  83. 

Beccaruzzi,  Francesco,  84. 

Becerra,  Gaspar,  84. 

Beechey,  Sir  William,  84. 

Beeck,  Jan,  85. 

Beek,  David,  85. 

Beeldemaker,  85. 

'Beerstraaten,  Alexander,  85. 

Bega,  Cornelius,  85,  630. 

Begarelli,  Antonio,  86. 

Begas,  Charles,  86. 

Begyn,  Abraham,  86. 

Beham,  86,  87. 

Behnes,  William,  88. 

Beich  or  Beisch,  Franz  Joachim,  88. 

Beinaschi.     See  Benaschi. 

Belcamp  or  Belkamp,  Jan  Van,  89. 

Bella,  Stefiuio  Delia,  89. 

Belle,  89. 

Bellevois,  89. 

Bellini,  89-95,  630. 

Belliniauo,  Vittore,  95. 

Bellori,  mentioned,  71. 

Bellotti,  Bernardo,  95. 

Beltraffio,  Gio.  Antonio,  96,  630. 

Bellucci,  Antonio,  96. 

Beltrano,  Agostino,  96. 

Bembo,  mentioned,  478. 

Bemmell,  96. 

Benaschi,  96,  97. 

Benazech,  Charles>97. 

Bencovich,  Federigo,  97. 

Benedetto,  98. 

Benedicto,  Roque,  98. 

Benefial,  Cavaliere  Marco,  98. 

Benfatto,  Luigi,  98. 

Benso,  Giulio,  99. 

Bent,  John  van  der,  99. 

Benvenuto,  Gio.  Batista,  99. 

Berchem,  Nicholas,  99,  630. 

lierchet,  Peter,  101. 

Berg,  Mathias  van  den,  102. 

Bergen,  Dirk  van,  102,  630. 

IkTucr,  Daniel,    102. 

Bergeret,  Pierre  Nolasque,  102. 

Bergler,  Joseph,  102. 

Bergmuller,  John  George,  102. 

I'.cringeroth,  103. 

Berkheiden,  103,  630. 

Berkmans,  Henry,  103. 

Berlinghieri,  103. 

Bermudez,  Cean,  mentioned,  3,  351,  505. 


Berna  or  Barna,  103. 

Bernabei,  Pier  Antonio,  104. 

Bernaerts,  Nicaise,  104. 

Bernard,  104. 

Bernini,  Gio.  Lorenzo,  104. 

Bentf,  Jean  Baptiste,  106. 

Berreguette,  Alonso,  106. 

Berrestyn,  C.  V.,  106. 

Berretoni,  106. 

Bertaud,  Marie  Rosalie,  10(5. 

Bertelli,  106. 

Berthelemy,  Jean  Simon,  106. 

Bertin,  Nicholas,  107. 

Bertucci,  107. 

Bervic,  Charles  Clement,  107. 

Beschey,  107. 

Besenzi,  Paolo  Emilio,  107. 

Bestard,  107. 

Bettelini,  Pietro,  107. 

Betti,  Padre  Biagio,  108. 

Betti,  Bernardino.     See  Pinturicchio. 

Bewick,  Thomas,  108. 

Bianchi,  108. 

Biancucci,  108. 

Bicci,  108. 

Bigordi.     See  Ghirlandais. 

Bigari,  Vittorio,  108. 

Biliverti,  Gio.,  109. 

Biltius,  Francis,  109. 

Binck,  James,  109. 

Birch,  Thomas,  109. 

Bird,  Edward,  109. 

Biscaino,  Bartolommeo,  109. 

Biset,  Charles  Emmanuel,  110. 

Bisi,  Michael,  110. 

Bissolo,  Pier  Francesco,  110. 

Bissuccio,  Leonardo  di,  110. 

Blaceo,  Bernardino,  110. 

Blachernita,  Michael  and  Simon,  110. 

Blackmore,  John,  111. 

Blake,  William,  111. 

Blanchard,  Jacques,  111. 

Blanchet,  Thomas,  111. 

Blankhof,  John  Teuuisz,  111. 

Blanseri,  Vittorio,  111. 

Bleck  or  Bleeck,  Peter  van,  112. 

Bles,  Henri  de,  112. 

Bloemaert,  112. 

Bloemen,  112,  113. 

Blond  or  Blon,  James   Christopher  Le, 

113. 

Blondeel,  Lancelot,  113. 
Bloot,  Peter,  114,  630. 
Blooteling  or  Bloteling,  114. 
Blot,  Maurice,  114. 
Bobadilla,  Geronimo,  114. 
Bocanegra,  Don  Pedro  Atanasio,  114. 
Boccaccino,  114,  630. 


NAMES   OF  ARTISTS,   AUTHORS,  ETC. 


655 


Bocciardo,  115. 

Bockhorst,  John  van,  115. 

Boedas,  115. 

Boece,  C.  F.     See  Boetius. 

Boehm.     See  Beham. 

Boel,  Pieter,  115. 

Boethus,  115. 

Boetius,  115. 

Boeyermanns,  Theodor,  115. 

Bohn,  mentioned,  382. 

Boissieu,  Jean  Jacques  de,  116. 

Boizot,  11G. 

Bol,  116,  117. 

Boldrini,  Joseph  Nicolas,  117. 

Bologna,  Gio.  or  Gian,  117. 

Bolognese,  II.     See  Grimaldi. 

Bolognini,  117. 

Bolswert  or  Bolsuerd,  118. 

Bombelli,  Sebastian,  118. 

Bonacina,  Gio.  Batista,  118. 

Bonasoni,  Giulio,  118. 

Bonatti,  Gio.,  118. 

Boncuore,  Gio.  Batista,  118. 

Bone,  Henry,  119. 

Bonesi,  Gio.  Girolamo,  119. 

Bonfanti,  Antonio,  119. 

Bonfigli  or  Buonfiglio,  Benedetto,  119. 

Boni,  Giacomo,  119. 

Bonifaccio,  Francesco,  119. 

Bonifazio,  Veneziano,  119,  630. 

Bonington,  Richard  Parkes,  120,  630. 

Bpnone,  Carlo,  130. 

Bonsignori,  Francesco,  120. 

Bonvicino,  Alessandro,  120,  630. 

Boonen,  Arnold  van,  121. 

Bordone,  Paris,  122,  631. 

Borgani,  Francesco,  12-3. 

Bur<;iani,  Orazio,  123. 

Bor^o^noiH',  Ainhrogio,  124,  631 . 

Borgognone,  II.     See  (Jortesc-. 

Borras,  Nicholas,  124. 

Borrekens,  124. 

Borsuni,  124. 

Borzone,  124. 

Bos  or  Bosche,  125. 

Bosch,  or  Bossche,  125. 

Boschaert,  Nicholas,  126. 

Boschi,  126. 

IV)schini,  Marco,  126. 

Boscoli,  Andrea,  126. 

Boselli,  126. 

Bosio,  Francis  Joseph,  12B. 

Bosschaert,  Thomas  Willeborts,  127. 

Bosse,  Abraham,  127. 

Both,  Jan  and  Andries,  127,  631. 

Bottala,  Gio.  Maria,  127. 

Itotticelli,  Sandro,  127,  631. 

Bouchardoo,  Edrne,  128. 


Boucher,  Francois,  128,  631 

Boucquet,  Victor,  129. 

Boulanger,  John,  129. 

Boullongne,  129. 

Bouman,  P.,  129. 

Bourdon,  Sebastian,  129. 

Bourgeois,  Sir  Francis,  130. 

Bousseau,  Jacques,  130. 

Bout,  130. 

Boydell,  John,  130 ;  mentioned,  502, 

Braccioli,  Gio.  Francesco,  131. 

Brakenburg,  Regnier,  131. 

Bramante  d'Urbino,  131. 

Bramantino.     See  Suardi. 

Brambilla,  Gio.  Batista,  132. 

Bramer,  Leonhard,  132. 

Brauwer  or  Brower,  Adrian,  132,  631 

Brea,  Ludovico,  133. 

Brebiette,  Peter,  133. 

Breda,  Jolin  van,  133. 

Bredael,  133. 

Bree,  133. 

Breenberg,  Bartholomaeus,  133. 

Brekelenkamp,  Quirin  van,  134. 

Bresang,  Hans,  134. 

Breughel,  134,  631. 

Breukelaar,  Henri,  Junior,  134. 

Breydell,  Karel,  134. 

Bridell,  Frederick  Lee,  135. 

Briggs,  Henry  Perronet,  R.  A..  135. 

Bril,  135. 

Brinckman,  Philip  Jerome,  135. 

Briosco.     See  Riccio. 

Broederlain,  Melchior,  135. 

Brompton,  Richard,  135. 

Bronkhorst,  135,  136. 

Bronzino,  Angiolo,  136,  631. 

Brown,  Mather,  136. 

Browne,  John,  136. 

Bruges,  John  of,  136. 

Brun,  Le,  Elisabetta.     See  Lebrun. 

Brun,  Charles  le,  136. 

Brunelleschi,  Filippo,  137. 

Brussel,  Paul  Theodore  van,  138. 

Bruyn  or  Bruin,  138. 

Bry  or  Brie,  Theodore  de,  139. 

Bryan,   mentioned,  75,   107,  132,   2J 

409,  410. 

Bucklaer,  Joachim,  139. 
Buffalmacco,  139. 
Bugiardini,  Giuliano,  139,  631. 
Buister,  Philip,  140. 
Bullinger,  John  Balthasar,  140. 
Bunel,  Jacques,  140. 
Buonacorsi.     See  Vaga. 
Buonamici.     See  Tassi. 
Buonarotti,  Michael  Angelo,  140,  631. 
Buoni,  165. 


656 


NAMES   OF  ARTISTS,  AUTHORS,   ETC, 


Burghers,  Michael,  166. 
Burgkmair,  166. 
Burke,  mentioned,  503. 
Byzes  of  Naxos,  166. 

C. 

Cabel  or  Kabel,  Adrian  van  der,  166. 

Cabezalero,  Juan  Martin  de,  166. 

Caccia,  Guglielmo,  167. 

Caccinoli,  Gio.  Batista,  167. 

Caffa,  Melchiore,  167. 

Caffieri,  167. 

Cagliari,  Paolo,  167,631. 

Cagnacci,  Guido,  171. 

Cairo,  Cavaliere  Francesco,  171. 

Calabrese.     See  Preti. 

Calabrese.     See  Cardisco. 

Calandra,  Gio.  Batista,  171. 

Calcar,  Hans  von,  171. 

Caldara,  Polidoro,  171. 

Calendario,  Filippo,  172. 

Calense,  Cesare,  172. 

Caletti,  Giuseppe,  172. 

Call,  John  van,  172. 

Callcott,  Sir  Augustus  Wall,  172,  632. 

Calleja,  Andres  de  la,  172. 

Callet,  Antoine  Fran9ois,  172. 

Callimachus,  173. 

Callot,  Jacques,  173. 

Calvart,  Denis,  173. 

Camassei,  Andrea,  174. 

Cambiaso,  Luca,  174. 

Cambio.     See  Arnolfo. 

Camerata,  Giuseppe,  174. 

Camilo,  Francisco,  174. 

Campagnola,  174. 

Campalastro,  Ludovico,  175. 

Campanna,  Pedro,  175. 


Camphuysen,  Theodore  Raphael,  175,  632.  Cerano,  II,  204 


Cariano,  Gio.,  187. 
Carlevariis,  Luca,  187. 
Carloni,  187. 

Carotto,  Gianfrancesco,  187. 
Carpaccio,  Vittore,  188. 
Carpi,  188. 
Carpioni,  Giulio,  188. 
Carracci,  The,  188-196,  632. 
Carrd  or  Carrey,  Michael,  196. 
Carreno,  196. 
Camera.     See  Rosalba. 
Cars,  Laurence,  197. 
Carstens,  Asmus  Jacob,  197. 
Carucci,  Jacopo,  198. 
Casaliua,  Lucia,  198. 
Casanova,  Francesco,  198. 
Casentino,  Jacopo  di,  198. 
Casolani.  1Q8. 

Cassana,  Gio.  Francesco,  198. 
Cassteels,  Peter,  199. 
Castagno,  Andrea  del,  199. 
Castelli,  199. 
Castello,  199. 

Castiglione,  Gio.  Benedetto,  199. 
Castillo,  200. 
Catena,  Vincenzo,  200. 
Catlin,  George,  200. 

Cavalcaselle,  Signer,  mentioned,  396,  432. 
^  €avallkii,  Pietro,  201. 
Cavallino,  Bernardo,  201. 
Cavallucci,  Antonio,  201. 
Cavarazzi,  Bartolomeo,  201. 
Cavedone,  Giacomo,  201. 
Caxes,  201,  202. 
Caylus,  Comte  de,  62,  202. 
Celesti,  Andrea,  202. 
Cellini,  Benvenuto,  202. 
Cephisdotus,  203. 
Ceracchi,  Joseph,  203. 


Campi,  175. 
Canachus,  175. 

Canal  or  Canale,  Antonio,  176,  632. 
Candido.     See  Witte. 
Cano,  Alonso,  176. 
Canova,  Antonio,  177. 
Cantagallina,  Remigio,  184. 
Cantarini,  Simone,  185. 
Cantofoli,  Ginevra,  185. 
Canuti,  Domenico  Maria,  185. 
Capella,  Jan  van  de,  185,  632. 
Caracciolo,  Giambattista,  185. 
Caraglio,  Gio.  Giacomo,  185. 
Caravaggio.     See  Amerighi. 
Cardi,  Ludovico,  186. 
Cardisco,  Marco,  186. 
Carducci  or  Carducho,  186. 
Carew,  Joseph,  mentioned,  12. 


Cerezo,  Matteo,  204. 

Cerquozzi,  M.  Angelo,  204. 

Cesare  da  Sisto.     See  Sesto. 

Cesare,  Giuseppe,  204. 

Cesi,  Bartolommeo,  204. 

Cespedes,  Pablo  de,  204. 

Chabry,  Mark,  205.  '. 

Chalk',  Charles  M.  A.,  205. 

Chambers,  George,  205. 

Champaigne,  Philippe  de,  206,  632. 

Chantrey,  Sir  Francis,  206. 

Chardin,  Jean  Baptiste  Simon,  206,  632 

Chaudet,  Antoine  Denis,  206. 

Cheney,  Seth,  207. 

Chodowiecki,  Daniel  Nicolas,  207. 

Christoph,  207. 

Christophsen,  Pieter,  207. 

Churriguera,  Josef  de,  208. 


NAMES   OF  ARTISTS,  AUTHORS,   ETC. 


657 


Ciampelli,  Agostino,  208. 

Cibber,  Caius  Gabriel,  208. 

Cicero,  mentioned,  462. 

Cigriani,  Carlo,  208. 

Cignaroli,  Giambettino,  208. 

Cigoli.     See  Cardi. 

Cima.     See  Conegliano. 

Cimabue,  Giovanni,  209. 

Cimaroli,  Giambattista,  210;  mentioned, 

306. 

Cioli  or  Ciolli,  210. 
Cipriani,  Gio.  Battista,  210. 
Civetta.     See  Bles. 
Civitali,  Matteo,  211. 
Claessens,  Anthony,  211. 
Cleef,  John  van,  211. 
Cleomenes,  211. 
Clerisseau  or  Clarisseau,  211. 
Cleve,  Joas  van,  211. 
Clevely,  John,  211. 
Clevenger,  Shobal  Vail,  211. 
Cleyn,  Franz,  212. 
Clint,  George,  212. 
Clouet  or  Cloet,  212,  632. 
Clovio,  Giulio,  212. 
Codagora,  Viviano,  213. 
Coello,  213,  632. 
Cole,  Thomas,  214. 
Colin,  Alexander,  215. 
Collantes,  Francisco,  215. 
Collins,  William,  215,  632. 
Cologne,  Meister  Wilhelm  of,  215. 
Colonna,  M.  Angelo.     See  Mitelli. 
Compe,  Jan  Ten,  21G. 
Conca,  Sebastiano,  210. 
Condivi,   Ascanio,  210.  [632. 

Conegliano,  Giambatista  Cima  da,  210, 
Coninck,  David  de,  216. 
Constable,  John,  217,  632. 
Contarini,  Cavaliere  Gio.,  217. 
Conte,  Jacopo  del,  217. 
Coiiti,  Bernardino  di.  217. 
( 'ooninxloo,  Giles,  217. 
C.M.pcr,  Samuel,  217. 
Coopw,   Pi.-t.T,  217. 
Copley,  John  Singleton,  217. 
(  'oqiirs.  Gon/.alis.  21!»,  633. 
(  or.licri  or  Cordii-r,  ±><>. 
Comiy.io,  BeBmrio,  220. 
(  Vriolano,  220. 
Con.rill,',  Mirhrl,  220. 
Cornelisscr,  Corn. -1  is,  220. 
Corona,  I^eonardo,  221. 
Correggio.     See  Allegri. 
Cort,  221,  224. 
Corte,  Juan  de  5a.  224. 
Cortese,  Jacopo,  224. 
Cortona,  Pietro  da,  224. 


Cortot,  Jean  Pierre,  224. 

Cosimo,  Piero  di,  224. 

Cossa,  Francesco,  224. 

Costa,  Lorenzo,  226. 

Cosway,  Richard,  226. 

Cotan,  Juan  Sanchez,  226. 

Cotes,  Francis,  226,  633. 

Cotignola,  226. 

Courtois,  Jacques.     See  Cortese. 

Cousin,  Jean,  226. 

Couston,  227. 

Coypel.  227,  228. 

Coxcien,  Michael,  228. 

Coysevox.  Antoine,  228. 

Cozens,  John,  228. 

Craesbecke,  Joost  van,  228,  63  3. 

Craeyer,  Gaspard  de,  229. 

Cranach,  Lucas,  229,  231. 

Crawford,  Thomas,  231. 

Crawford,  Louisa  W.,  mentioned,  232. 

Credi,  Ix>renzo  di,  232,  633. 

Cresilas,  233. 

Crespi,  233. 

( •ristofori,  233. 

Crivelli,  Carlo,  233,  633. 

Crome,  John,  234. 

Cross,  John,  235. 

Crowe  and  Cavalcaselle,  mentioned,  20. 

( 'uria,  Francesco,  235. 

Cumuli  or  Currado,  235. 

Cuyp,  235,  633. 

D. 

Daddi,  Bernardo,  236. 

Daelliker,  John  Rudolph,  236. 

Dahl,  236. 

Dalmasio,  Lippo  di,  236. 

l)aii)cr,  I  Ion.  Anne  Seymour,  236. 

Danby,  Francis,  237. 

Dance,  Sir  Nathaniel,  237. 

Dandini,  237. 

Dai  i iell,  Thomas,  237. 

Dai  meeker,  Johann  Heinrich,  238. 

Dante,  Girolamo,  238. 

Dante,  mentioned,  154,  306,  393,  543. 

Dario  da  Treviso,  238. 

DauhY>,  Jean,  238. 

Daven.  Leon,  238. 

David,  238,  239,  633. 

Dawe,  George,  239. 

Deas,  Charles,  239. 

Decamps,  Alexander  Gabriel,  240,  633 

Decker  or  Dekker,  240. 

Deelen,  Dirk  van,  240. 

Delacroix,  Eugene,  240,  634. 

Delaroche,  Paul,  241,  634. 

Delft,  241,24^2. 


658 


NAMES   OF   ARTISTS,   AUTHORS,   ETC. 


Delli,  Dello,  242. 

Delmont,  242. 

Denis  or  Denys,  Simon,  242. 

Dernier,  Balthasar,  242,  634. 

Desenfans,  Mr.,  mentioned,  130. 

Desplaces,  Ixjuis,  242. 

Desportes,  Fra^ois,  242. 

Detroy,  Jean-Fra^ois,  243. 

Deutsch.     See  Manuel. 

Devis,  243. 

Diaz,  Diego  Valentine,  243. 

Diepenbeck,  Abraham  van,  243. 

Diest,  Adrian  van,  244. 

Dietisalvi,  Petroni,  244. 

Dietrich,  Christian  W.  E.,  244. 

Dionysius,  mentioned,  462. 

Dobson,  William,  245. 

Does,  245. 

Doggett,  W.  E.,  mentioned,  409. 

Dolci,  Carlo,  245,  634. 

Domemchino,  246. 

DonateUo,  250. 

Done,  or  Dono.     See  Uccello. 

Doni,  Adone  or  Done,  251. 

Donzelli,  251. 

Dorigny,  Michel,  251. 

Dossi,  251. 

Doudyns,  William,  252. 

Doughty,  Thomas,  252. 

Dow,  Gerhard,  252,  mentioned,  407,  634. 

Drevet,  253. 

Drolling,  Michel  Martin,  253. 

Drost,  253. 

Drouais,  Jean  Germain,  254,  634. 

Drummond,  Samuel,  254. 

Dubbels,  254. 

Due,  A.,  254. 

Ducq,  Jan  le,  254. 

Duccio  di  Boninsegna,  254. 

Duchange,  Gaspar,  255. 

Duchatel,  Frans,  256. 

Dufresnoy,  Charles  Alphonse,  256. 

Dunlap,  William,  256. 

Dunwegge,  256. 

Dupaty,  Charles  Mercier,  256. 

Duquesnoy,  Francois,  257. 

Diirer,  Albert,  257 ;  mentioned,  95,  109, 

273,  365,  445. 
Dusart,  Cornelius,  261.  " 
Dyce,  William,  261. 

E. 

Earlom,  Richard,  262. 

Eastlake,  Sir  Charles  L.,  mentioned,  302. 

Eckhout  or  Eeckhout,  262. 

Edelinck,  Gerard,  202. 

Edema,  Gerard,  262. 


Edmonds,  John  W.,  262. 
Egg,  Augustus  Leopold,  263,  634. 
Egmoiit,  Justus  van,  263. 
Eimbeck,  Johann  Raphon  von,  263. 
Elliger  or  Elger,  Ottomar,  263. 
Elliot,  Charles  Loring,  263. 
Elmar  or  Elmer,  Stephen,  263. 
Elstracke,  Reginald,  264. 
Elzheimer,  Adam,  264. 
Emerson,  mentioned,  365. 
Empoli,  Jacopo  Chimenti  da,  264. 
Engelbrechtsen,  Cornells,  264. 
Es  or  Essen,  Jacob  van,  265. 
Escalante,  Juan  Antonio,  265. 
Espagnondel,  Mathieu,  265. 
Espinosa,  Jacinto  Jeronimo  de,  265. 
Etty,  William,  265,  634. 
Eusebio  di  San  Giorgio,  265. 
Eutychides,  265. 
Everdingen,  Aldert  van,  266. 
Everett,  Edward,  mentioned,  315. 
Eyck,  Van,  266-269,  635. 

F. 

Fabria  or  Fabre,  269. 
Fabriano,  Gentile  da,  269. 
Fabullus,  270. 
Fachetti,  Pietro,  270. 
Facini,  Pietro,  270. 
Faenza,  Gio.  da,  270. 
Faes,  Peter  van  der.     See  Lely. 
Fage,  Raymond  de  la,  270. 
Faithorne,  William,  271. 
Falcone,  Aniello,  271. 
Falconet,  Etienne  Maurice,  271. 
Falens,  Karel  van,  271. 
Fanelli,  Virgilio,  271. 
Fantuzzi  or  Fontuzzi,  271. 
Farinato,  Paolo,  272. 
Farrington,  Joseph,  272. 
Fassolo,  Bernardino,  272. 
Fattore,  II.     See  Penni 
Feke,  Robert,  272. 
Ferg,  Paul  Francis,  272. 
Fernandez,  272. 
Ferrara,  273. 
Ferri,  Ciro,  274. 
Ferucci,  Andrea  di  Piero,  274. 
Fesele,  Martin.  274. 
Feti,  Domenico,  274. 
Fiammingo,  II.     See  Duquesnoy» 
Fiammingo,  274. 
Fiesole,  Fra  Gio.  da,  274,  635. 
Fiesole,  Mino  da,  276. 
Figino,  Ambrogio,  276. 
Filippi,  Sebastiano,  276. 
Filocamo,  276. 


NAMES   OF  AHTISTS,  AUTHORS,   ETC. 


659 


Finiguerra,  Maso,  277. 

Fink,  Frederick,  277. 

Finoglia,  Paolo  Domenico,  277. 

Fiore,  277. 

Fiorentino,  Stefano,  277. 

Fiori,  Mario  di.     See  Nuzzi. 

Fiori.     See  Baroccio. 

Fisher,  Alvan,  278. 

Flaxman,  John,  278;    mentioned,  117, 

515. 

Flemael,  Bertholet,  278. 
Flinck,  Govaert,  279. 
Florigerio,  Sebastiano,  279. 
Floris,  Frans,  279. 
Fogolino,  Marcello,  280. 
Folo,  Gio.,  280. 
Fontana,  280. 
Foppa,  281,  635. 
Ford,  Mr.,  mentioned,  565. 
Forli,  Melozzo  da,  281,  635. 
Forment,  Damian,  281. 
Fosse,  Charles  de  la,  282. 
Foucquet,  Jean,  282.    " 
Fouqui6res,  James,  282. 
Fragonard,  Jean-Honor^,  282,  035. 
Fraucesca,  Pietro  della,  282,  630. 
Franceschini,  283. 
Franciabigio,  283. 
Francia,  Francesco,  283,  635. 
Franck  or  Francken,  285- 
Franco,  Battista,  285. 
Francis,  286. 
Francuccci.     See  Imola. 
Fraser,  Charles,  286. 
Fratellini,  Giovanna,  286. 
Frazee,  John,  286. 
Fredi,  Bartolo  di,  286. 
Freminet,  Martin.  287. 
Frey,  287. 

Frisius,  Simon,  287. 
Fruitiers,  Philip,  287. 
Fuessli,  John  Caspar,  287. 
Filler,  Henri,  287. 
Fulton,  Robert,  287. 
Fungai,  Bernardino,  287. 
Furini.  Francesco,  288. 
Fnniess,  William  H.,  Jr.,  288. 
Fnseli  or  Fiissli,  Henry,  288. 
Kiiterer,  Ulrich,  28!). 
Fyoll,  Conrad,  289. 
Fyt,  Jan.  289. 

G. 

Gaal  or  Gall,  Barent,  289. 
Uabbiani,  Antonio  Domenico,  289. 
( Jaddi,  289,  290. 

llaofa,  Scipione  da.     See  Pulzone. 
Gainsborough,  Thomas,  290,  635. 


Galanino,  291. 

Galassi,  Galasso,  291. 

Galaton,  291. 

Galestruzzi,  Gio.  Batista,  29t 

Galle,  291. 

Gallegos,  Fernando,  291. 

Galli,  291,  292. 

Garbo,  Raffaellino  del,  292,  635. 

Gargiuoli,  Domenico,  292. 

Garofalo,  292,  635. 

Garzi,  Ludovico,  292. 

Gassel,  Lucas,  293. 

Gasser,  Hans,  293. 

Gatti,  Bernardino,  293. 

Gaulli,  Gio.  Battista,  293. 

Gault  de  St.  Germain,  293. 

Gaywood,  Robert.  293. 

Geddes,  Andrew,  293. 

Gelder,  Aart  de,  293. 

Gelee,  Claude.     See  Lorraine. 

Genga,  Girolamo,  294. 

Gennari,  Benedetto,  294. 

Genoels,  Abraham,  294. 

Gentileschi,  294. 

Gerard,  294,  295. 

Gericault,  Jean  Louis,  295. 

Gessi,  Francesco,  295. 

Gessner,  Solomon,  29£. 

Ghein  or  Gheyn,  James,  295. 

Ghent,  Justus  van,  295. 

Gherardo  delle  Notte.     See  Houthorst 

Ghiberti,  Lorenzo,  295. 

Ghirlandaio,  297. 

Ghisi,  299. 

Ghisolfi,  Gio.,  299. 

Ghezzi,  Cavaliere  Pier  Leone,  299. 

Giamberti.     See  San  Galto. 

Giambono.  Michele,  299. 

Gibbon,  Grindling,  299. 

Gibson,  299,  300. 

Gillray,  James,  302. 

Gilpin,  Sawrey,  302. 

Gimfgnani,  Giacinto,  302. 

Giordano,  Luca,  303. 

Giorgione,  304,  636. 

Giottino,  306. 

Giotto,  306;  mentioned,  10,  290,  393,  63" 

Girardon,  Fransois,  308. 

Girodet,  Anne  Louis,  309. 

Girtin,  Thomas,  309. 

Glass,  James  W.,  309. 

Glauber,  Jan,  309. 

Glaucus,  309. 

Glockenton,  Albert,  309. 

Glover,  Jonn,  309. 

Glycon,  310. 

Gobbo,  Pietro  Paolo  Bonzi,  310, 

Goebouw  or  Gobau,  310. 


660 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


Goes,  Hugo  van  der,  310. 

Goethe,  mentioned,  475. 

Goltzius,  Heinrich,  310. 

Gomez,  Sebastian,  310. 

Gondolach,  Matthaus,  311. 

Good,  T.  S.,  311. 

Gool,  John  van,  311. 

Gortzius,  Gualdorp,  311. 

Gossaert.     See  Mabuse. 

Goudt,  Count  de,  311. 

Goujon,  Jean,  311. 

Goya  y  Lucientes,  Francisco,  311,  636. 

Goyen,  Jan  van,  312,  636. 

Gozzoli,  Benozzo,  312. 

Graff,  Anton,  312. 

Graat  or  Grait,  313. 

Grammatica,  Aritiveduto,  313. 

Granacci,  Francesco,  314. 

Grandi,  314. 

Granet,  Frar^ois  Maurice,  314. 

Graziani,  Ercole,  314. 

Grebber,  Pieter  de,  314. 

Greff,  Jerome,  315. 

Green,  Valentine,  315. 

Greenough,  Horatio,  315. 

Greuze,  Jean  Baptiste,  316,  636. 

Grien  or  Griin.     See  Baldung. 

Griffier,  Jean,  316. 

Grimaldi,  Gio.  Francesco,  316. 

Grimm,  mentioned,  137,  145,  154,  281, 

304. 

Grimou,  Grimoux,  or  Grimoud,  316. 
Gros,  317. 

Grunewald,  Matthew,  317. 
Gryeff  or  Griff,  317. 
Guardi,  Francesco,  317,  636. 
Guercino,  318,  636. 
Gue"rin,  Pierre  Narcisse,  321. 
Guido.     See  Reni. 
Guillain,  Simon,  321. 
Gyssens  or  Ghysells,  Peter,  321. 

H. 

Haansbergen,  Jan  van,  321. 

Haarlem,  Cornelis  van.     See  Cornelisser. 

Haarlem,  Dierick  van.     See  Stuerbout. 

Hackaert,  Jan,  322. 

Hackert,  Jacob  Philip,  322. 

Hageri,  Jan  van  der,  322. 

Hainzelmann,  Elias,  322. 

Haldenwang,  Christian,  322. 

Haller,  John,  322. 

Ilaller  (poet),  mentioned,  424. 

Hals,  Frans,  323 ;  mentioned,  587,  636. 

Hamilton,  323. 

Hanneman,  Adrian,  324. 

Harding,  Chester,  324. 


Harlow,  George  Henry,  324. 

Hartmann,  Johann  Jacob,  324. 

Haydon,  Benjamin  Robert,  324. 

Haymann,  Francis,  324. 

Head,  Guy,  324. 

Heaphy,  Thomas,  325. 

Hearne,  Thomas,  325. 

Heath,  James,  325. 

Heck,  Nicholas  van  der,  325. 

Heda,  Willem  Klaasz,  325. 

Heem,  325. 

Heere,  Lucas  de,  325. 

Heil,  Daniel  van,  326. 

Heineken's    Dictionnaire    des    Artistes 

mentioned,  173,  399. 
Heins,  Heinsius,  or  Ens,  326. 
Heintsch,  Johanu  Georg,  326. 
Heinz,  Joseph,  326. 
Helmbrecker,  Theodore,  326. 
Helmont,  Matthew  van,  326. 
Heist,  Bartholomew  van  der,  327,  636. 
Hemessen,  Jan  van,  327. 
Hemling,  Hans.     See  Memling. 
Hemskerk,  327. 
Hendreks,  VVybrand,  327. 
Herlen,  Frederick,  327. 
Hernandez,  Gregorio,  327. 
Herp,  Gerard  van,  328. 
Herrera,  328. 
Hersent,  Louis,  329. 
Heusch,  329. 

Heyden,  Jan  van  der,  329,  636. 
Highmore,  Joseph,  329. 
Hilliard,  Nicholas,  329. 
Hilton,  William,  329. 
Hire,  Laurent  de  la,  330. 
Hobbema,  Mindert,  330,  637. 
Hodges,  William,  330. 
Hoeck,  Jan  van,  330.. 
Hoecke,  Eobert  van,  330. 
Hoefnagel,  Jooris,  330. 
Hoekgeest,  G.  or  C;,  331. 
Hoet,  Gerard,  331. 
Hofland,  Thomas  Christopher,  331. 
Hogarth,  William,  331,  637. 
Hogenberg,  334. 
Holbein,  334,  637. 
Holland.     See  Dance. 
Hollar.  Wenceslaus,  341. 
Holloway,  Thomas,  342. 
Hondekoeter,  Melchior,  342,  637. 
Hondius,  Abraham,  342. 
Honthorst,  342. 
Hoogh,  Peter  de,  343,  637. 
Hooghe,  Romeyn  de,  343. 
Hoogstraeten,  343. 
Hope,  Mr.,  mentioned,  566. 
Hopfer,  343. 


NAMES   OF  ARTISTS,   AUTHORS,   ETC. 


661 


Hoppner,  John,  343. 

Horremans,  John,  343. 

Hoskins,  John,  344. 

Hosmer,  Harriet,  mentioned,  301. 

Houbraken,    Arnold,    344;     mentioned, 

411,  514. 

Houbraken,  Jacob,  344. 
Houdon,  Jean  Antoine,  345,  637. 
Houston,  Richard,  345. 
Howard,  Henry,  345. 
Huber,  John  Rodolph,  345. 
Huchtenburgh,  Joon  van,  345. 
Hudson,  Thomas,  346. 
Huysmans,  346. 
Huysum,  346,  637. 


Ibbetson,  Julius  Caesar,  346. 

Ictinus,  346. 

Imbert,  Joseph  Gabriel,  340. 

Irnola,  Innocenzo  Francucci  da,  346. 

Injrham,  C.  C.,  347. 

Ininan,  Henry,  347. 

Iriarte,  Ignacio  de,  347. 

J. 

Jacopo  da  Casentino.     See  Casentino. 

Jahn,  Otto,  mentioned,  403. 

Jameson,  Mrs  ,  mentioned,  302,  304. 

Jainrsone,  George,  347. 

Janet,  Francois.     See  Clouet. 

Jansen,  Cornelius,  348. 

Jansens,  Abraham,  348. 

Janssens,  Victor  Honorius,  348. 

Jardin,  Karel  du,  348,  637. 

Jarenus,  348. 

Jarvis,  John  Wesley,  349. 

Jeaurat,  Edme,  349. 

Jegher,  Christopher,  349. 

Jervas,  Charles,  349. 

Joanes,  Vicente  de,  349. 

Jode,  350. 

Jongh,  Lieve  de,  350. 

Jordaens,  Jacob,  350. 

Jouvenet,  Jean,  351. 

Julien,  Pierre,  351. 

Juni,  Juan  de,  351. 

Justus  of  Padua,  351. 

Justus  of  Ghent,  352. 

Juvara,  Filippo,  352. 

Juvenel,  Paul,  352. 

K. 

Kabel.     See  Cabel. 

Kager,  Johann  Mathias,  352. 

Kalcar.     See  Calcar. 


Kalf,  Willem,  352. 

Kauffman,  Maria  Angelica,  353. 

Kerkhove,  Joseph  van  der,  353. 

Kessel,  Van,  353. 

Ketel,  Cornelis,  354. 

Keulen  or  Ceulen,  Jansons  van,  354. 

Keux,  John  le,  354. 

Keyser,  Theodor  de,  354. 

Keyzer,  Henry  de,  354. 

Kierings  or  Cierincx,  354. 

Kilian,  354. 

King,  Charles  B.,  354. 

Kiss,  Augustus,  355,  638. 

Klerck,  Henry  de,  355. 

Klomp,  Albert,  355. 

Klopstock,  mentioned,  430. 

Kneller,  Sir  Godfrey,  355. 

Knoller,  Martin,  355. 

Knowles,  John,  mentioned,  288. 

Kobell,  355,  356. 

Koninck  or  Coninck,  356. 

Koning,  Salomon,  356. 

Koningh,  Philip  de,  356,  638. 

Krafft,  Adam,  356. 

Krug  or  Krugen,  357. 

Kugler,  mentioned,  34,  38,  94,  139,  166, 

188,   216,  228,  272,  289,   297,  393, 

435. 
Kupetzky,  Johann,  357. 


Laer,  Pieter  van,  358. 

Lafond,  Charles  N.  R.,  358. 

Lafosse,  Charles  de  la,  358. 

Lagr&ide,  Louis  J.  F.,  358. 

Laguerre,  Louis,  358. 

Lairesse,  Gerard  de,  359. 

Lambert,  George,  359. 

Lana,  Ludovico,  359. 

Lancret,  Nicholas,  359,  638. 

Landini,  Taddeo,  359. 

Lanfranco,  Gio.,  359. 

Lanini,  Bernardino,  359. 

Lanzi,  mentioned,  24,  50,  57,  68,  119, 

123. 

Lapo,  Arnolfo,  360. 
Largilliere,  Nicholas,  360. 
Lasfnio,  II  Conte,  360. 
Lasne,  Michael,  360. 
Lastman,  Pieter,  360. 
Launitz,  Edward  von  der,  360. 
Lauri,  Filippo,  360. 
Lawrence,  Sir  Thomas,  360. 
Lazzarini,  Gregorio,  361. 
Leal,  Don  Simon  de  Leon,  361. 
Lebrun,  361,  638. 
Lecomte,  Felix,  361. 


662 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


Leeuw.  361. 

Lefevre,  or  F6vre,  361. 

Lelie,  Adrien  de,  361. 

Lely,  Sir  Peter,  361,  638. 

Lembke,  Johann  Philip,  362. 

Lemoine,  Fran9ois,  362. 

Lempereur,  362. 

Lenain,  362. 

Lens,  Andries  Cornells,  363. 

Leochares,  363. 

Leonardo,  Juseppe,  363. 

Leonbruno,  Lorenzo,  363. 

Leoni  or  Lioni,  363. 

Leopardo,  Alessandro,  363. 

Leprince,  363,  364. 

Leslie,  Charles  Robert,  364. 

Lethiere,  Guillaume  Guillon,  364. 

Leu,  Thomas  de,  364. 

Leutze,  Emmanuel,  364. 

Leyden,  Lucas  van,  365. 

Liberate,  368. 

Liberi,  Pietro,  368. 

Libri,  Girolamo  dai,  368. 

Licinio.     See  Pordenone. 

Liemakere,  Nicholas  de,  369. 

Lilienbergh,  C.,  369. 

Limborch,  Hendrik  van,  369. 

Lindsay,  Lord,  mentioned,  139. 

Lingelbach,  Johann,  369,  638. 

Lint,  369. 

Linthorst,  J.,  369. 

Lippi,  369,  371,  638. 

Liverseege,  Henry,  371. 

Livins,  Jan,  371. 

Lomazzo,  mentioned,  401. 

Lombard,  Lambert,  372,  638. 

Lombardo,  372,  373. 

Lomi.     See  Gentileschi. 

Londonio,  Francesco,  373. 

Longhi,  373. 

Lonsdale,  373. 

Lonsing,  Francois  Joseph,  373. 

Loo,  Peter  van,  374. 

Looten,  Jan,  374. 

Lorenzetti,  374. 

Ix>renzo,  375. 

I/)rme  or  De  L'Orme,  375. 

Lorraine,  375,  638. 

Lothener,  Stephan,  377. 

Ixttto,  Lorenzo,  377. 

Loutherbourg,  Philip  James,  378. 

Lowry,  Wilson,  378. 

Liibke,  mentioned,  6,  169,  375,  463,  508, 

531,  537. 
Lucatelli,  378. 
Lucchesino,  378. 
Luoiani.     See  Piombo,  Del. 
Luigi,  Andrea,  378. 


Luini  or  Lovini,  Bernardino,  381,  631) 

Lundens,  Gerrit,  381. 

Luti,  Cavaliere  Benedetto,  381. 

Lutma,  Janus  or  John,  381. 

Lutzelburger,  Hans,  382. 

Luyken,  John,  382. 

Luzzi,  Pietro,  382. 

Lysippus,  382. 

Lytton,  Lord,  mentioned,  301. 

M. 

Maas  or  Maes,  383. 

Mabuse,  Jan  van,  383,  639. 

Machuca,  Pedro,  384. 

Maeda,  Asensio  de,  384. 

Maganza,  Alessandro,  384. 

Mahselkircher,  Gabriel,  384. 

Majano.     See  Benedetto. 

Malbone,  Edward  G.,  384. 

Manfredi,  Bartolommeo,  385. 

Manni,  G.  di  Paolo,  385. 

Mannl  or  Maennl.  Jacob,  385. 

Mansueti,  Gio.,  386. 

Mantegna,  Andrea,  386,  639. 

Manuel,  Nicolas,  389. 

Maratti,  Carlo,  389. 

Marc  Antonio.     See  Raimondi. 

Marcellis,  Otho,  390. 

March,  Esteban,  390. 

Marchesi.     See  Cotignola. 

Marconi,  Rocco,  391. 

Margaritone  of  Arezzo,  391. 

Marinus,  Ignatius,  391. 

Marlow,  William,  391. 

Marmolejo,  Pedro  de  Villegas,  391. 

Marquez,  Esteban,  392. 

Marshall,  Chief  Justice,  mentioned,  447 

Martin,  John,  392. 

Martinez,  392. 

Martini,  Simone,  393. 

Martos,  Ivan  Petrovitch,  394. 

Marziale,  Marco,  394,  639. 

Masaccio,  394,  639- 

Masaniello,  mentioned,  516. 

Masolino.     See  Panicale. 

Mason,  James,  396. 

Massard,  Jean,  396. 

Masson,  Anthony,  397. 

Massys,  Quintin.  397. 

Matham,  398. 

Mattoni.     See  Pietro  della  Vecchia. 

Maurer,  Christoph,  398. 

Mayno,  Juan  Bautista,  398. 

Mazzolini,  Ludovico,  398. 

Mazzuoli,  398,  399,  641. 

Mecherino.     See  Beccafumi. 

Meckenen  or  Mecheln,  Israel  von,  399 


NAMES   OF  ARTISTS,  AUTHORS,   ETC. 


663 


Medici,  Lorenzo  de',  mentioned,  128,  140, 
141,  314,  371,  462,  535,  579. 

Medici,  Marie  de',  mentioned,  522. 

Medina,  Sir  John  Baptist,  399. 

Meer.  400,  639. 

Meert,  Pieter,  400. 

Meire,  Gerard  van  der,  400. 

Melano,  Gio.  da,  400. 

Meldolla  or  Meldola,  Andrea,  400. 

Mellan,  Claude.  401. 

Melzi,  Francesco,  401. 

Memling,  Hans,  401,  639. 

Memmi,  Lippo,  403. 

Memmi,  Simone.      See  Martini. 

Mena  y  Medrano,  403. 

Menelaus,  403. 

Mengs,  Anton  Raphael,  404;  mentioned, 
71,  216,  639. 

Merian,  404. 

Messina,  Antonello  da,  405,  640. 

Metsu  or  Metzu,  Gabriel,  406,  640. 

Meulen,  Anton  Frana  van  der,  407. 

Meyer,  407. 

Meyering,  Albert,  407. 

Michau,  Theobald,  407. 

Miel,  Jan,  407. 

Mierevelt,  Michael  Janse,  407,  640. 

Mieris,  407,  408,  640. 

Milliard,  408. 

Mignon,  Abraham,  408. 

Milizia,  mentioned,  72,  181. 

Mind,  Gottfried,  409. 

Minderhout,  Hendrik,  409. 

Mitelli,  Agostino,  409. 

Mocetto,  Girolamo,  409. 

Modena,  Nicoletto  da,  409. 

Modena,  Niccolo  da.     See  Abbate. 

Moine.     See  Lemoine. 

Mol,  Peter  van,  409. 

Mola,  409,  410. 

Molenaer,  Jan,  410. 

Molyn,  410. 

Mommers,  Hendrik,  410. 

Mom  per  or  Mom  pert,  410. 

Monaco,  Don  Lorenzo,  410. 

Monamy,  Peter,  410. 

Muncalvo.     See  Caccia. 

Moni,  Louis  de,  411. 

Monnicksor  Monnix,  411. 

Monnoyer,  Jean  Baptiste,  411. 

Mont,  Del.     See  Delmont. 

Montagna,  411. 

Montaues,  Juan  Martinez,  411. 

Montelupo,  Rafaelle  da,  411. 

Montorfano,  Gio.  Donate,  412. 

Montorsoli,  Fra  Gio.  Angelo,  412. 

Moor,  Karel  van,  412. 

Morales,  Luis,  412. 


Morando,  Paolo,  413,  640. 

More  or  Moro,  Sir  Anthony,  413,  640. 

Moreelzee,  Paul,  413. 

Morel,  Bartolom<*,  413. 

Morelli,  Gio.  Battista,  413. 

Moretto.     See  Bonvicino. 

Morgenstern,  Ludwig  Ernst,  413. 

Morghen,  Raphael,  413;  mentioned,  609. 

Morin,  John,  414. 

Morland,  George,  414. 

Moro,  II.     See  Torbido. 

Moro,  Gio.  Battista,  414- 

Morone,  414. 

Moroni,  Gio.  Battista,  414,  640. 

Mortimer,  John  Hamilton,  415. 

Morto  da  Feltri.     See  Luzzo  and  Gior- 

gione. 

Mostaert,  Jan,  415. 
Moucheron,  415. 
Mount,  William  S.,  415. 
Moya,  Pedro  de,  415. 
Mudo.     See  Navarrete. 
Mulinari  or  Molinari,  416. 
MuUer,  416. 
Miiller,  mentioned,  5. 
Mulrcady,  William,  416,  640. 
Mufioz,  Sebastian,  416. 
Murand,  Emanuel,  417. 
Murano,  417. 

Murillo,  Bartolomd  Estevan,  417,  640. 
Muscher,  Michiel  van,  422. 
Musis,  Agostino  de,  422. 
Mutina  or  Modena,  422. 
Muziano,  Girolamo,  423. 
Myn,  Herman  van  der,  423. 
Mytens,  Daniel,  the  Elder,  423. 
Myron,  423;  mentioned,  7,  462. 

N, 

Nagler,  mentioned,  441,  448,  548,  555. 

Nahl,  John  Augustine,  424. 

Nain,  424. 

Naiwinck  or  Naiwyncx,  H.,  424. 

Nanteuil,  Robert,  424. 

Nardi,  Angelo,  424. 

Nasmyth,  425,  641. 

Nason,  Pieter,  425. 

Naucydes,  425. 

Navarrete,  Juan  Fernandez,  425. 

Neagle,  John,  426. 

Neale,  John  Preston,  426. 

Necker  or  Negker,  Josse  de,  426. 

Neefs,  426. 

Neer,  427,  641. 

Nelson,  Lord,  mentioned,  521. 

Nerroccio,  427. 

Netscher,  Caspar,  427,  641. 


664 


NAMES   OF  ARTISTS,  AUTHORS,   ETC. 


Neuchatel,  Nicolas,  427. 

Newton,  Gilbert  Stuart,  427. 

Niccolo  dell'  Abate.     See  Abbate. 

Nickelen,  428. 

Nicolaus,  428. 

Niewenhuys,  Mr.  C.  J.,  mentioned,  558. 

Nogari,  Giuseppe,  429. 

Nollekens,  Joseph,  429;  mentioned,  206. 

Northcote,  James,  429. 

Numan,  mentioned,  43. 

Nuyen,  Wynand  Jan  Joseph,  430. 

Nuzzi,  Mario  della  Penna,  430. 

O. 

Obregon,  Pedro  de,  430. 
Ochtervelt,  J.,  430. 
Oggione  or  Uggione,  430. 
Ohmacht,  Landolin,  430. 
Oliver,  Isaac,  430. 
Oraraeganck,  Balthasar  Paul,  431. 
Omodeo  or  Amadeo,  431. 
Oost,  Jacob  van,  431. 
Oosterwyck,  Maria  van,  431. 
Oppenheim,  Mr.,  mentioned,  208. 
Orbetto  L'.     See  Turchi. 
Orcagna,  Andrea,  431. 
Orcagna,  Bernardo,  mentioned,  433. 
Orizonte.     See  Bloemen. 
Orlandi,  mentioned,  40. 
Orleans,  Marie,  Princess  of,  433. 
Orley,  Bernhard  van,  434. 
Orrente,  Pedro,  434. 
Ortolano,  L'.     See  Benvenuto. 
Os,  Jan  van,  434. 
Osorio,  Francesco  Meneses,  434. 
Ostade,  434,  435,  641. 
Oudenarde.     See  Audenarde. 
Oudry,  Jean  Baptiste,  435. 
Overbeck,  Frederich,  435. 
Ovens,  Jurian,  436. 

P. 

Pacchia,  Girolamo  del,  436. 
Pacchiarotti,  Jacopo,  436. 
Pacheco,  Francesco,  436. 
Padouanino.     See  Varotari. 
Paelinck,  Joseph,  437. 
Page,  William,  mentioned,  30. 
Paggi  or  Pagi,  Gio.  Battista,  437. 
Pajou,  Augustin,  437,  641. 
Palamedes,  438. 
Palissy,  Bernard  de,  439. 
I'ahna,  Giacomo,  440,  441,  641. 
Palmaroli,  Pietro,  441. 
Palmerini,  mentioned,  414. 
Palmezzano,  Marco,  441,  641 


Palomino.  See  Velasco;  mentioned,  47, 
54,  177,  512. 

Panetti,  Domenico,  442. 

Panicale,  Masolino  da,  442. 

Pannels,  Willem,  442. 

Pannini,  Gio.  Paolo,  442,  641. 

Pantoja,  Juan  de  la  Cruz,  442. 

Papa,  442,  443. 

Pape,  Adrieu  de,  443. 

Papias,  443. 

Papillon,  443. 

Parcellis,  443. 

Pareja,  Juan  de,  443. 

Parrocel,  Joseph,  443. 

Pass  or  Passe,  444. 

Passavant,  mentioned,  475. 

Passeri,  Giambattista,  444. 

Passerotti,  Bartolomeo,  444. 

Patavinus.     See  Avibus. 

Patel,  445. 

Pater,  Jean  Baptiste  Joseph,  445,  642. 

Patinier,  Joachim,  445. 

Patras,  Lambert,  445. 

Pauditz,  Christopher,  446. 

Pausanias,  mentioned,  10. 

Pautre,  Jean  le,  446. 

Peale,  446,  447. 

Pelham,  Peter,  mentioned,  217. 

Pellegrini,  Gio.  Antonio,  447. 

Pencz,  George,  447. 

Pennachi,  448. 

Penni,  448,  449. 

Penny,  Edward,  449. 

Pereda,  Antonio,  449. 

Perelle,  Gabriel,  449. 

Pereyra,  Manuel,  449. 

Perkins,  Mr.  C.  C.,  mentioned,  433,  460. 

Perkins,  Col.  T.  H.,  mentioned,  30. 

Perkins,  Augustus  Thorndike,  men- 
tioned, 219. 

Perugino,  Pietro,  450,  642. 

Peruzzi,  Baldassare,  451. 

Pesaro  or  II  Pesarese.     See  Cantarini. 

Pesello,  452. 

Pesne,  Jean,  452. 

Peters,  452. 

Petitot,  452. 

Petrarch,  mentioned,  393. 

Phidias,  452;  mentioned,  7, 9, 10, 19, 462. 

Phillips,  Thomas,  453 ;  mentioned,  453. 

Piazza,  453. 

Picart,  titienne,  453. 

Pigalle,  Jean  Baptiste,  453. 

Pilgrim,  Hans  Ulrich,  454. 

Pilon.  Germain,  454. 

Pineda,  Bernardo  Simon,  454. 

Pinelli,  Bartolommeo,  454. 

Piuturicchio,  Bernardino,  454. 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


665 


Piombo,  Fra  Sebastiano  del,  455,  642. 

Pippi.      See  Romano,  Giulio. 

Piranesi,  Gio.  Battista.  457. 

Pisanello,  458. 

Pisano,  458,  461. 

Pitau,  Nicholas,  461. 

Pliny,  mentioned,  7,  8,  363,  462. 

Ploos.     See  Anistel. 

Poccetti.     See  Barbatelli. 

Poel,  Egbert  van  der,  461. 

Poelemberg,  Kornelis,  461. 

Poilly,  Francis,  the  Elder,  461. 

Polidoro.     See  Caldara. 

Pollaiuolo,  462. 

Polycleitus,  7,462. 

Polydorus.     See  Agesander. 

Ponte.     See  Bassano. 

Pontius,  Paul,  404. 

Pontormo.     See  Carucci. 

Ponzio,  464. 

Pope,  mentioned }  358. 

Pordenone,  464. 

Porta,  Baccio  della,  16,  464,  630. 

Porta,  Guglielmo  della,  465. 

Potter,  Paul,  466,  642. 

Pourbus,  Pieter,  460. 

Poussin,  467,  468,  642,  643. 

Pradier,  James,  468. 

Prado,  Bias  del,  468. 

Pratt,  Matthew,  468. 

Praxiteles,  469. 

Preller,  Ludwig,  mentioned,  5. 

Preti,  Cavalier  Mattia,  469. 

Previtali,  Andrea,  469,  643. 

Primaticcio,  Francesco,  470. 

Procaccini,  470. 

Prud'hon,  Pierre,  470,  643. 

Puget,  Pierre,  470. 

Puligo,  Domenico,  470. 

Pulzone,  Scipione,  471. 

Pynacker,  Adam,  471. 

Q. 

Quaglio,  Dominik,  471. 
QuefilntM,  471. 
Quercia,  Jacopo  della,  471. 
Querrart.  Augustus,  472. 
Quintilian,  mentioned,  8,  462. 

R. 

Raczynski,  Count,  mentioned,  272. 
Raeburn,  Sir  Henry,  472. 
Raibolini.     See  Francia. 
Raimbach,  Abraham,  472. 
Raimondi,   Marc    Antonio,   472;    men- 
tioned, 519,  643. 


Ramboux,  M.,  mentioned,  244. 
Ramenghi.     See  Bagnacavallo. 
Raphael  Santi,  150,  473,  643. 
Rauch,  Christian,  485. 
Ravenna,  Marco  da,  485. 
Ravestyn,  Jan,  485. 
Razzi.     See  Bazzi. 
Read,  Thomas  Buchanan,  485. 
Regillo.     See  Pordenone. 
Reinagle,  486. 

Rembrandt  van  Ryn,  487,  643. 
Reni,  Guido,  495,  644. 
Retzsch,  Friedrich,  A.  M.,  501. 
Reynolds,  Sir  Joshua,  501;  mentioned, 
131,  189,  256,  288,  327,  468,  515,  644 
Reynolds,  Samuel  William,  504. 
Ribalta,  504. 
Ribera.  Josef  de,  505. 
Ricci,  506. 
Riccio,  506,  507. 
Ridolfi,  Cavaliere  Carlo,  507. 
Riemenschneider,  Tilman,  507. 
Rietschel,  Ernst,  507. 
Rietschoof,  Jan  Claasze,  508. 
Rigaud,  Hyacinthe,  508. 
Riley,  John,  508. 
Rincon,  Antonio  del,  508. 
Rizi,  508,  509. 
Rizzo,  Antonio,  509. 
Robbia,  Luca  della,  509. 
Robert,  Louis  Leopold,  511,  644. 
Roberts,  M.  O.,  mentioned,  560. 
Robetta,  511. 
Robusti.     See  Tintoretto. 
Rode,  Christian  Bernard,  511. 
Roelas,  Juan  de  las,  512. 
Roepel,  Conrad,  512. 
Rogman,  Roland,  512. 
Rokes,  Hendrik  Martenz,  512. 
Roldan,  Pedro,  512. 
Romanino,  Girolamo,  513. 
Romano,  Giulio,  513,  644. 
Rombouts,  Theodore,  514. 
Romeyn,  Willem.  514. 
Romney,  George,  514,  644. 
Roos,  515. 
Rosa,  515,  644. 
Rosalba,  Camera,  515. 
Rosaspina,  Francesco,  517. 
Rosellino,  518. 
Rosselli,  518. 
Rossi,  518,  519. 
Rota,  Martino,  520. 
Rothenhammer,  Johann,  520. 
Rothschild,  Baron,  mentioned,  602. 
Roubilliac.  Louis  Francois,  520. 
Roullet,  Jean  Louis,  520. 
Roux,  Maitre.     Sec  Rosso  de'  Rossi. 


666 


NAMES   OF  ARTISTS,  AUTHORS,   ETC, 


Rovezzano,  Benedetto  da,  520. 
Rubens,   Peter    Paul,    521, 644  ;    men- 
tioned, 585,  586. 
Rude,  Francois,  531. 
Rugendas,  George  Philip,  531. 
Rumohr,  mentioned,  473. 
Ruskin,  mentioned,  555. 
Russell,  Rev.  J.  Fuller,  mentioned,  35. 
Rustici,  Gio.  Francesco,  531. 
Ruysch,  Rachel,  532,  645. 
Ruysdael,  532,  645. 
Ryckaert,  David,  533. 
Ryn.     See  Rembrandt. 
Rysbraek,  533. 

S. 

Sabbatini,  533. 

Sacchi,  533. 

Sachtleven,  Cornells,  534. 

Sadeler,  534. 

Saenredam,  John,  534. 

Salerno,  Andrea  da.     See  Sabbatini. 

Salmeggia,  Enea,  534. 

Salviati,  Cecchino  del,  534. 

Salvi,  Gio.  Battista,  534. 

Sanchez-Coello.     See  Coello. 

Sanchez-Cotan.     See  Cotan. 

Sandrart,  Joachim  von,  534. 

Sandvoord,  D.  D.,  535. 

Sangallo,  535,  536. 

Sansavino,  536,  537. 

Santa-Croce,  538. 

Santafede,  Francesco,  538. 

Santerre,  Jean  Baptiste,  539. 

Sanzio.     See  Raphael  Santi. 

Saraceno,  Carlo,  539. 

Sargent,  Henry,  539. 

Sarrazin,  Jacques,  539. 

Sarto,  Andrea  del,  539,  645. 

Sassoferrato.     See  Salvi. 

Savery,  Roelandt,  541. 

Savoldo,  Girolamo,  542. 

Savonarola,  mentioned,  141,  464,  466. 

Scanabecchi.     See  Dalmasio. 

Scaramuccia,  Luigi,  542. 

Schadow,  John  Gottfried,  542. 

Schaffner,  Martin,  542. 

Schalken,  Gottfried,  542. 

Schedone,  Bartolommeo,  542. 

Scheffer,  Ary,  543,  645. 

Schiavone,  Andrea,  543. 

Schievelbein,  Hermann,  543. 

Schilling,  Johannes,  543. 

Schinkel,  Karl  Friedrich,  543. 

Schluter,  Andreas,  544. 

Schoenfeldt,  Heinrich,  544. 

Schongauer,  Martin.  544. 


Schoreel,  Jan,  546. 

Schotel,  Christian,  546. 

Schriek,  Otto  Marseus  van,  546. 

Schut,  Cornelis,  546. 

Schiitz,  Christian  George,  546. 

Schwanthaler,  Ludwig,  546. 

Schwartz,  Christopher,  547. 

Scott,  547. 

Screta,  Carl,  547. 

Sears,  Hon.  David,  mentioned,  30. 

Sebastiano,  Fra.     See  Piombo. 

Seghers  or  Zegers,  547. 

Semolei,  II.     See  Franco. 

Senefelder,  Alois,  548. 

Sequeira,  Domingos  Antonio  de,  548. 

Sergell,  Johann  Tobias,  548. 

Sermoneta,  Girolamo  Sciolante  da,  548. 

Serra,  Miguel,  548. 

Sesto,  Cesare  da,  548. 

Seydelman,  Jacob  Crescentius,  549. 

Sharp,  William,  549. 

Sherwin,  John  Keyes,  549. 

Siebold,  Christian.  549. 

Sigalon,  Xavier,  549. 

Sigriorelli,  549,  645. 

Silvestre,  550. 

Simbrecht  or  Zimbrecht,  550. 

Simoneau,  Charles,  551. 

Sirani,  Gio.  Andrea,  551. 

Slingelandt,  Peter  van,  551. 

Smirke,  Robert,  551. 

Smith,  551. 

Smith,  mentioned,  377,  406,   427,  471 

563,  602.  617. 
Smybert,  John,  551. 
Snayers,  Peter,  552. 
Snyders,  Frans,  552. 
Soddoma,  II.     See  Bazzi. 
Sogliani,  Gio.  Antonio,  552. 
Soiaro.     See  Bernardino  Gatti. 
Solario,  552,  553. 
Solimena,  Francesco,  553. 
Solis,  Virgilius,  553. 
Sophonisba.     See  Anguisciola. 
Soutman,  Pieter,  554. 
Spagna,  Lo,  554 
Spagnoletto,  II.     See  Ribera. 
Spagnolo,  Lo,  di  Bologna.     See  Crespi 
Spierre,  Francis,  554. 
Spinello,  Aretino,  554. 
Spranger,  Bartholomew,  555. 
Squarcione,  Francesco,  555. 
Staevaerts,    Stevers,  or   Stevens.       See 

Palamedes. 

Stanfield,  Clarkson,  555,  645. 
Stanzioni,  Massimo,  555. 
Staveren,  Johan  Adraen  van,  555 
Steen,  550,  645. 


NAMES   OF  ARTISTS,  AUTHORS,  ETC. 


667 


Steenwyck,  Hendrik  van,  556. 
Stella,  Claudine  Bousonnet,  556. 
Stephan,  Meister.     See  Lothener. 
Stephanus,  Hans.     See  Calcar. 
Stirling,  mentioned,  51,   328,  350,  411, 

566,  595,  597,  599. 
Stone,  Frank,  556. 
Stork,  Abraham,  556. 
Stoss,  Veit,  557. 
Stothard,  Thomas,  557. 
Strange,  Sir  Robert,  557. 
Strutt,  Joseph,  557. 
Stuart,  Gilbert,  557. 
Stuerbout,  Dierick,  558. 
Suardi,  Bartolommeo,  559. 
Subleyras,  Pierre,  559. 
Sueur,  Eustache  Le,  559. 
Sully,  Thomas,  559. 
Sunder.    See  Cranach. 
Sustermann,    Lambert.       See    Lambert 

Lombard. 

Sustermans,  Justus,  560. 
Suyderhoef,  Jonas,  560. 
Swanevelt,  Herman  van,  560. 
Syrlin,  Jorg,  560. 

T. 

Taeca,  Pietro  Giacomo,  561. 

Tan,  Andrea,  561. 

Tiilpino.     See  Same^gia. 

Tamil,  Frans  \\reriier3  561. 

Tardieu,  561. 

Tassi,  Agostino,  561. 

Tatti.     See  Jacopo  Sausavino. 

Tauriscus,  562. 

Tempel,  Abraham  van  den,  562. 

'IVuipcsta,  Antonio,  562. 

Tempesta,  Peter.     See  Molyn. 

Teniers,  562,  565,  646. 

Terburg,  Gerard,  565,  646. 

Testa,  Pietro,  565. 

Theotocopuli,  565. 

Thiele,  Johann  Alexander,  566. 

Thifle,  ment'umwl,  568,  569. 

Tliiers,  M.,  m<-nli<»n'<l,  241. 

Thorwaldsen,  5(56. 

Tli.ys,  Peter,  569. 

Tibaldi,  56!). 

Tilborgh,  Egidius  van,  569. 

Tintoretto,  56'.  I. 

Tisio.     See  Garofalo. 

Titian,  571,  646;  Mentioned,  426. 

Tivoli,  Hosa  di.     See  Koos. 

Tobar,  Don  Alouso  Miguel  de,  578. 

To!,  Dominion  van,  578. 

Toledo,  Juan  de,  578. 

Torbido,  Francesco,  579. 

Torre.  Flaminio,  579. 


Torregiano,  Piero,  579 ;  mentioned,  146. 

Tribolo,  579. 

Tristan,  Luis,  579. 

Trumbull,  John,  579. 

Tulden,  Theodor  van,  581. 

Turchi,  Alessandro,  581. 

Turner,  Joseph  Mallord  William,  581. 

U. 

Ubertini,  Francesco,  582. 
Uccello,  Paolo,  582. 
Uden,  Lucas  van,  582. 
Udine,  582. 

Uggione.  See  Oggione. 
Ulft,  Jacob  van  der,  582. 
Utrecht,  Adrien  van,  582. 


V. 


Vadder,  Lodewyck  de,  583. 

Vsenius.     See  Veen. 

Vaga,  Pierino  del,  583. 

Valdes,  Don  Juan  de,  584. 

Vanderhamen,  Juan  de,  584. 

Vanderlyn,  John,  584. 

Vandyck,  Sir  Anthony,  585,  594,  646. 

Vanloo,  Charles  AndnS,  594. 

Vanucchi.     See  Sarto. 

Vannucci.     See  Perugino. 

Varela,  Francisco,  594. 

Vargas,  Luis  de,  594. 

Varotari,  Alessandro,  595. 

Vasari,  Giorgio,  595 ;  mentioned,  11,  29, 
36,  45,  55,  119,  120,  128,  203,  290, 
306,  314,  370,  374,  401,  457,  475, 
511,  536,  606,  610. 

Vasquez,  Alouso,  596. 

Vecelli,  596. 

Vecchia,  Pietro,  596. 

Veen,  Martin  van.     See  Hemskerk. 

Veen,  Otho  van,  596. 

Vega,  Lope  de,  mentioned,  213,  426. 

Velasco,  596. 

Velasquez,  596,  647. 

Velde,  601,  602,  647. 

Vendramini,  John,  602. 

Veneziano,  Agostino.     See  Musis. 

Veneziano,  Sebastiano.     See  Piombo. 

Veneziano,  Carlo.     See  Saraceno. 

Veneziano,  Antonio,  602. 

Venne,  Adrian  van  der,  602. 

Verboom,  Abraham,  602. 

Vernet,  602,  604,  647. 

Veronese,  Paolo.     See  Cagliari. 

Veronese,  Alessandro.     See  Turchi. 

Verrochio,  Andrea,  604. 

Verschuring,  Henrik,  605 


668 


NAMES   OF  ARTISTS,   AUTHORS,   ETC. 


Vertue,  George,  605. 

Victor,  Jan,  605. 

Vien,  Joseph  Marie,  605. 

Vigarny,  Felipe  de,  605. 

Villameua,  Francesco,  605. 

Villavicencio,  Don  Pedro  Nunez,  605. 

Vinci,  Leonardo  da,  605,  647  ;  men- 
tioned, 145. 

Vinckenboons,  David,  612 

Vischer,  612. 

Visscher,  615. 

Vite  or  Viti,  615. 

Vitruvius,  mentioned,  6. 

Vivares,  Francis,  615. 

Vivarini,  Antonio,  615. 

Vlieger,  Simon  de,  615 

Vliet,  Hendrik  van,  615 

Vois,  Ary  de,  615. 

Volpato,  Gio.,  615. 

Volterra,  Daniele  da,  616?  mentioned, 
163. 

Vorsterman,  Lucas,  616. 

Vos,  Martin  de,  616. 

Vouet,  Simon,  616. 

Vries.  Adrian  de,  616. 


Weigel,  mentioned,  294,  617. 

Werff,  618. 

West,  Benjamin,  618. 

Westmacott,  Richard,  620;    mentioned, 

105. 

Weyden,  620,  621. 
Whitmore,  mentioned,  217. 
Wierix  or  Wierinx,  John,  621. 
Wilkie,  Sir  David,  621,  647. 
Willaerts,  Adam,  622. 
Winkelman,  mentioned,  404. 
Wit,  Jacob  de,  622. 
Witte,  Emanuel  de,  622,  647. 
Wohlgenmth,  Michael,  622. 
Wolsey,  mentioned,  521. 
Woodville,  Richard  Caton,  622. 
Woollett,  William,  623. 
Wornum,  mentioned,  169. 
Wouvermans,  623,  624,  647. 
Wright,  Joseph,  624. 
Wynants.  Jan,  624,  648. 


X. 


Xamete,  627. 


W. 

Wagner,  Hans,  616. 
Waldo,  Samuel,  616. 
Walpole,  mentioned,  508. 
Walscapelle,  Jacob,  617. 
Ward,  James,  617. 
Ward,  John,  mentioned,  232. 
Waterloo  or  Waterlo,  617. 
Watson,  Elkanah,  mentioned,  218. 
Watteau,  Antoine,  617,  647. 
Weenix,  618,  647. 


Zachtleven.     See  Sachtleven. 

Zagel,  Matthias,  627. 

Zampieri.     See  Domenichino. 

Zani,  mentioned,  274,  354,  382,  400 

Zeghers.     See  Seghers. 

Zeitblom,  Bartholomew,  628. 

Zoega,  mentioned,  566. 

Zuccaro,  628. 

Zuliani,  Cavaliere,  mentioned,  179,  180 

Zurbaran,  Francisco,  628. 


INDEX  OF   PLACES. 


Aix. 

Statue  of  King  Rene,  239. 
Aix-la-  Chapelle. 

Relic  cases,  428. 
Albany. 
Capitol,  347. 
State  Library,  263. 
Akala. 

Jesuit  College,  53. 
S.  Maria,  53. 
Alkmaer. 

Town  House,  325. 
Alnwick  Castle,  95. 
Amsterdam. 

Museum  or  Gallery,  63,  85, 102,  103, 
127,  216,  235,  245,  253,  261,  262, 
279,  294,  316,  321,  325,  327,  342, 
343,  345,  348,  352,  354,  356,  369, 
372,  383,  417,  421,  461,  466,  490, 
508,  514,  533,  542,  555,  565,  578, 
601,  602,  615,  618,  622,  623,  644. 
Town  Hall,  535. 
Van  der  Hoop  Coll.,   56,  63,   254, 

343,  383,  406,  512. 
New  Hotel  de  Ville,  279,  322,  327, 

342,  354. 

Ch.  of  Our  Lady,  4. 
Leprosenhuys,  116. 
Werkhuys,  535. 
New  Theatre,  43. 
Six  Gall.,  400,  490. 
Treasury,  48. 
Huyssittenhuys,  116. 
Ancona. 

Dome,  95. 
Antwerp. 

Museum  or  Gallery,  4,  107,  116,  125, 
126,  134,  228,  242,  243,  256,  265, 
269,  279,  282,  285,  344,  348,  363, 
383,  397,  400,  403,  415,  471,  514, 
523,  546,  569,  596,  616,  621,  622, 


Academy,  406. 

Cathedral,  65,  67,  243,  397,  523. 

Hall  of    the    Society  of    Archery 
130. 

New  Hotel  de  Ville,  65. 

Chapelle  des  Orphelins,  434. 

Ch.  of  the  Beguines,  115. 

Ch.  of  the  Augustines,  63. 

S.  James,  67,  116,  522,  569. 
Arezzo. 

Pieve,  373. 

S.  Maria  degli  Angeli,  554. 

S.  Angelo,  52. 

S.  Francesco,  282. 
Aschaffenburg. 

Church,  614. 

Royal  Library,  87. 
Ashby-<le-la-Zouch,  ch.  of,  30. 
Assist. 

Lower  Church,  44,  307. 

S.  Francesco,  400,  554. 

Chapel  of  S.  Martin,  393. 

Ch.  of  Assisi,  201,  210,  251 
Asti. 

S.  Agostino,  23. 
Augsburg. 

Cathedral,  166,  334. 

Convent  of  S.  Catherine,  334. 

Hercules  Fountain,  616. 

Museum  or  Gallery,  35,  69, 166,  229, 

334,  335,  516. 
Baltimore. 

Historical  Society  Coll.,  558. 

Mercantile  Library,  263. 
Bamberg. 

Cathedral,  317,507. 
Basle. 

Museum,  334,  335,  336,  389. 
Bassano. 

Cathedral,  49,  76. 

Gallery,  238. 


670 


INDEX  OF  PLACES. 


S.  Giovanni,  77. 

S.  Sebastian,  49. 
Beaume. 

Hospital,  621, 
Beckford  Coll.,  8. 
Bergamo. 

Monastery  del  Paradise,  3. 

Lochis  Carrara  Gall.,  or  Carrara 
Acad.,  95,  281,  386,  411,  414. 

S.  Maria  Maggiore,  274. 

S.  Alessandro  della  Croce,  3. 

S.  Christoforo,  126. 

S.  Spirito,  470. 

S.  Marie  della  Grazie,  3. 

Capella  Colleoni,  431. 

Ch.  of  the  Augustines,  126. 
Berlin. 

Museum,  1,  4,  8,  17,  19,  26,  36,  38, 
39,  55,  64,  66,  75,  76,  77,  80,  86, 
93,  94,  95,  96,  99,  103,  104,  110, 
112,  113,  115,  116,  120,  122,  124, 
125,  131,  134,  135,  136,  138,  139, 
140,  171,  187,  188,  198,  199,  204, 
208,  216,  217,  220,  224,  226,  229, 
233,  234,  235,  240,  242,  243,  254, 
262,  266,  268,  269,  270,  271,  279, 
280,  285,  289,  290,  292,  298,  299, 
306,  309,  316,  321,  327,  328,  330, 
338,  342,  349,  355,  356,  358,  359, 
368,  369,  372,  374,  375,  377,  383, 
386,  388,  393,  398,  400,  403,  404, 
406,  407,  410,  413,  414,  415,  422, 
438,  442,  443,  448,  449,  464,  470, 
472,  473,  474,  490,  496,  513,  514, 
515,  516,  524,  525,  532,  533,  542, 
543,  558,  560,  562,  565,  575,  582, 
615,  618,  621,  622,  628,  632,  635, 

Imhof  Coll.,  in  Mus.,  335.          [639. 

Arsenal,  544. 

Theatre,  543. 

Guard  House,  543. 

Long  Bridge,  544. 

Charlottenburg,  485,  544. 

Sans  Souci,  507,  511. 
Berne. 

Civic  Library,  389. 
Bettona. 

S.  Francisco,  21. 

S.  Maria,  287. 
Bologna. 

Academy  or  Gallery,  37,  55,  60,  64, 
140,  185,  189,  19%  225,  246,  283, 
306,  318,  551,  615. 

Cathedral,  189. 


La  Madonna  del  Piombo,  98. 

S.  Petronio,  143,  372,  472,  519,  579. 

S.' Cecilia,  55,  284. 

S.  Antonio,  77. 

S.  Martino  Maggiore,  55. 

S.  Maria  della  Vita,  372. 

S.  Domenico,  372,  459. 

Madonna  del'  Soccorso,  64,  109. 

S.  Pietro,  64,  372. 

S.  Michele  in  Bosco,  19. 

S.  Ignatius,  67. 

S.  Stefano,  46. 

S.  Giorgio,  14,  64. 

S.  Giacomo  Maggiore,  38,  284. 

S.  Biagio,  119. 

S.  Marino,  119. 

S.  Maria  de  Galeria,  14. 

Madonna  di  Mezzarata,  60. 

Celestines,  Ch.  of  the,  46,  119. 

Nunziata,  38. 

Certosa,  119. 

Madonna  del  Barracano,  225. 
Boston. 

Faneuil  Hall,  539. 

Athenaeum,  33,   215,  219,  232,  252, 
347,  426,  558,  560,  619. 

Museum,  560. 

Music  Hall,  232. 

Roman  Catholic  Society,  539. 

Coll.    of    Massachusetts    Historical 

Society,  428,  539,  558. 
Brescia. 

Tosi  Gall.,  281. 

Scuola  Elementaria,  281. 

S.  Joseph,  61. 

Dei  Miracoli,  IS. 
Breslau. 

Cathedral,  612. 
Bruges. 

Cathedral,  63,  113,  330,  558. 

Hopital  des  Soeurs  Noires,  558. 

Council  Hall,  113. 

Town  Hall,  211. 

Hospital,  401. 

Notre  Dame,  144,  415. 

S.  Jacques,  113,  127. 

Academy,  211,  238,  269,  408. 
Brunswick. 

Statue  of  Lessing,  507. 
Brunswick  Gall.  (England),  245,  294, 

400. 
Brussels. 

Museum   or  Gallery,  55,   229,   266, 
355, 363, 399, 400, 431, 434, 438,  646. 


INDEX   OF  PLACES. 


671 


Aremberg  Gall.,  134,  185,  326,  328, 
356,  400,  430,  449. 

Library,  57,  331. 

Jesuit  church,  112. 

Franciscan  church,  63. 

Capuchin  church,  127. 

S.  Gudula,  3. 
Burgos. 

Cathedral,  43. 

Burleigh  House  (England),  268,  295. 
Cadiz. 

Cathedral,  628. 
Cambridge. 

Chapel  at  Mount  Auburn,  232- 

Harvard  College,  551. 
Cambridge  (England). 

Fitzwilliam  Mus.,  515. 
Caprarola. 

Palace,  72. 
Citrlsruke. 

Art  Hall,  36. 
Carlstein. 

Castle,  423. 
Cassel. 

Gallery,  175,  253,  325,  329,  344,  348, 
358,  359,  431,  466,  488,  490,  512, 
515,  622. 
Castelfnnifo. 

Parish  church,  304. 


College  Church,  442. 
Chatstvorth. 

Duke   of    Devonshire's    Coll.,   268, 

299,  302,  376. 
Choisy. 

Gardens,  128. 
Cincinnati. 

Collection  of  Mr.  Longworth,  619. 
Coblentz. 

S.  Castor,  216. 
Colmar. 

S.  Martin,  544. 

Civic  Library,  544. 
Cologne. 

Museum  or  Gallery,  138,  139,   216, 
377. 

Cathedral,  216,  377. 

Shrine  of  the  Three  Kings,  428. 

Ramboux  Coll.,  255,  286. 
Constantinople. 

S.  Sophia,  47. 

C<l/><  /ill  "</<•  /I. 

Academy,  566,  567. 
Thorwafdsen  Mus.,  567,  568. 


Charlottenburg,  568. 
Frue  Kirke,  568. 
Cordova. 

Cathedral,  51,  205. 
Cortona. 

S.  Margaret.  43.  461. 
Cos. 

Temple  of  Asclepius,  48. 
Cremona. 

S.  Sigismondi,  115. 
S.  Domenico,  21. 
S.  Gismondi,  175. 
S.  Quirico,  114. 
Cathedral,  114. 
Bishop's  Pal.,  114. 
Cuenca. 

Cathedral  Cloister,  627. 
Dantzic. 

Parish  church,  402. 
Darmstadt. 

Museum,  377. 
Delft. 

Hotel  de  Ville,  136,  242,  407. 
Deurne. 

Parish  church,  243 
Dijon. 

Museum,  63,  135. 
Diruta. 

S.  Antonio  Abbate,  21. 
Dresden. 

Gallery,  1,  2,  11,  25,  26,  55,  64,  78, 
95,    99,   103,  110,    113,    116,   121, 
127,  128,  130,  132,  133,  155,  166, 
169,  202,  208,  220,  231,  244,  251, 
254,  269,  271,  274,  279,  283,  284, 
292,  294,  298,  305,  309,  313,  314, 
316,  321,  325,  337,  338,  339,  344, 
348,  358,  369,  400,  404,  406,  407, 
408,  410,  415,  422,  427,  440,  444, 
470,  472,  478,  489,  490,  504,  512, 
513,  514,  515,  525,  532,  533,  534, 
542,  544,  546,  553,  562,  566,  569, 
572,  575,  578,  582,  600,  602,  615, 
622,  623,  629. 
Briihl  Terrace,  543. 
Statue  of  Weber,  507. 
Zwingerhof,  507. 
Dusseldorf. 

Gallery,  96. 
Edinburgh. 
Registry  Office,  237. 
Gallery,  291. 
Erfurt. 
Church,  614. 


672 


INDEX  OF  PLACES. 


Ettal 

Convent,  355. 
Fabriano. 

Chiesa  della  Carita,  95. 

Casa  Morichi,  270. 
Faenza. 

Cathedral,  98,  347. 

Orfanotrofio  delle  Michelline,  442. 

Gymnasium,  271. 
Fano. 

Duomo,  246. 
Ferrara. 

Strozzi  Pal.,  55. 

Constabili  Coll.,  226. 

S.  Benedetto,  172. 

S.  Niccolo,  99,  103. 

S.  Antonio  Abbate,  103. 

S.  Maria  de  Servi,  99. 

S.  Lorenzo,  99. 

S.  Francesco,  119. 

La  Santissima  Trinita,  119. 
Fiesole. 

Hospital  of  the  Innocenti,  137. 

Badia,  137. 
Florence. 

Academy  of  Arts,  17,  103,  108,  145, 
209,  210,  233,  270,  275,  290,  292, 
298,  306,  396,  400,  410,  452. 

Ducal  Gall.,  46,  286,  302. 

Uffizi  Gall.,  16,  22,  36,  66,  80,  95, 
98,  108,  117,  122,  128,  136,  140, 
144,  164,  198,  211,  224,  233,  250, 
258,  264,  275,  277,  292,  297,  298, 
339,  374,  381,  386,  393,  396,  397, 
403,  404,  406,  408,  456,  474,  510, 
518,  520,  537,  542,  575,  596,  611, 
616. 

Tribune  of  the  Uffizi,  71,  144,  469, 
540. 

Pitti  Gall.,  16,  30,  76,  186,  224,  245, 
254,  282,  298,  305,  310,  399,  422, 
450,  451,  465,  474,  475,  477,  516, 
518,  519,  575,  586,  600. 

Pitti  Pal.,  41,  137,  274. 

Gallery  of  Artists,  5,  126,  175,  356, 
400,  414. 

Loggia  de'  Lanzi,  117,  250,  433. 

Badia,  371. 

Ponte  Sta.  Trinita,  41. 

Piazza  della  Signoria,  117. 

Piazza  del  Gran  Duca,  203. 

Palazzo  Niccolini,  303. 

Palazzo  Pubblico,  298. 

Palazzo  Vecchio,  117,  298,  604. 


Casa  Buonarotti,  452. 

Museum  of  the  Bargello,  604. 

Boboli  Gardens,  117. 

Duomo,  68,  98,  137,  270,  274,  290. 

510. 

Campanile,  510. 
Carmine,  520. 

Nunziata,  8,  17,  66,  68,  275,  519,  539. 
Scalzo,  539. 
Certosa,  126,  536. 
Servi,  283. 

Baptistery,  250,  290,  296,  531,  561. 
Brancacci  Chapel,  371. 
Ognissanti,  298,  308,  326,  400. 
Montoliveto,  98,  298,  410. 
Misericordia  Vecchia,  458. 
Orsanmichele,  117,  250,  296,  604. 
Convent  of  S.  Lucia,  126. 
Monastery  of  S.  Marco,  275. 
S.  Marco,  109,  308. 
S.  Agostino,  537. 
S.  Maria  Novella,    8,    17,  98,   209, 

242,  297,.  298,  393,  394,  432,  582. 
Gondi  Chapel,  138. 
S.  Maria  del  Carmine,  395. 
S.  Maria  del  Fiore,  8,  108,  161,  199, 

296,  360. 

S.  Maria  del  Popolo,  537. 
S.  Miniato-in-Monte,  8,  52,  66,  518, 

554. 

S.  Ambrogio,  518. 
S.  Reparata,  54. 
S.  Trinita,  66,  298,  410,  458. 
S.  Lorenzo,  68,  137,  152,  250. 
Santa  Croce,  98,  137,  138,  164,  210, 

290,  306,  307,  391,  518. 
S.  Maria  Nuova,  108,  310. 
S.  Niccolo  di  la  d'Arno,  270. 
S.  Spirito,  381. 
S.  Felicita,  274,  308. 
Foligno. 

S.  Niccolo,  36. 
Fontainebleau. 

Palace,  116,  329,  434,  519. 
Forli. 

Cathedral,  11. 
Palazzo  Pubblico,  20. 
Madonna  del  Fuoco,  208. 
S.  Girolamo,  442. 
Frankfort. 
Stadel  Gall.,  95,  120,  207,  241,  246, 

264,  268,  275,  285,  334,  438,  456, 

515,  546,  6ie,  621. 
Library,  216. 


INDEX   OF  PLACES. 


673 


Coll.  of  M.  Bethmann,  238. 

Coll.  of  M.  Brentano  Laroche,  282. 

Theatre,  360. 

Guttenburg  monument,  360. 
Freiburg. 

Cathedral,  66. 
Freising. 

Cathedral,  446. 
Genoa, 

Council  chamber,  20. 

Doria  Pal.,  99,  644. 

Casa  Durazzo,  29. 

Cloister  of  S.  Agostino,  65. 

Chapel  of  S.  John  Baptist,  211. 

S.  Pietro,  65. 

S.  Spirito,  125. 

S.  Paolo,  115. 

S.  Domenico,  125. 

Nunziata,  46,  99. 
Getafe  (near  Madrid). 

Church,  177. 
Ghent. 

Museum,  229,  256. 

Cathedral,  269,  514. 

Ch.  of  the  Carthusians.  58. 

S.  Bavo,  266,  400. 

S.  James,  58, 115. 

S.  Michel,  437. 
Glasgow. 

Merchants'  Hall,  301. 
<!riin<ida. 

Cathedral,  52,  177,  403,  605. 

Jesuit  College,  114. 

Ch.  of  the  Carmelites,  392. 

Cloister  of  Nuestra  Senora  de  Gra- 
cia,  114. 

Monastery  of  S.  Geronimo,  392. 

Alhambra  Gate,  384. 
Gries  (in  the  Tyrol). 

Convent,  355. 
GrottaJ  errata. 

Church,  246. 

Illlltllil). 

Cathedral,  29. 
1 1  IK  rlem. 

Oude  Man  Huys,  323. 

Hotel  de  Ville,  323. 
Hague. 

Gallery  or  Museum,  63,  79,  100,  112, 
127,  220,  240,  325,  331,  342,  348, 
345,  348,  350,  354,  356,  369,  400, 
406,  408,  421,  430,  443,  464,  466, 
488,  490,  532,  556,  565,  582,  601, 
611,  618,  621,  623. 

Town  Hull,  485. 


House  in  the  Wood,  127. 
Halberstadt. 

Cathedral,  263. 
Halle. 

Ch.  of  Our  Lady,  317. 
Hamburg. 

Library,  242. 
Hartford. 

Wadsworth  Gall.,  73,  215,  558,  619. 
Henley -upon-  Thames. 

Bridge,  237. 
Hindelbanck. 

Monument  to  Mme.  de  Langhaus, 

424. 
Huesca. 

Cathedral,  282. 
Imola. 

S.  Domenico,  74. 
Ipres. 

Jesuit  Church,  116. 
Jaen. 

Cathedral,  512. 
Kingston-Lacy. 

Picture  by  Giorgione,  305. 
Kloster-Neuberg. 

Verdun  Altar,  428. 
Lago  Maggioi-e. 

Colossal  statue,  233. 
Leipzig. 

Museum,  140. 
Ley  den. 

Town  House,  116,  264,  365. 
Liege. 

S.  Paul,  47. 

S.  Barthdemy,  446. 
Liliendtnl. 

Picture  by  Bloemaert,  112. 
Lisbon. 

Pal.  of  the  King,  336. 
LitchfieU. 

Chapel,  206. 
Liverpool. 

Institution,  314,  393,  452,  515,  621. 

S.  George's  Hall,  302. 

Ince  Hall  (near  Liverpool),  268. 
Lodi. 

Ch.  dell'  Incoronata,  453. 
London. 

National  Gall.,  17,  19,  26,  37,  63, 
71,  75,  95,  96,  99,  120,  127,  128, 
130,  136,  169,  198,  210,  216,  217, 
233,  235,  244,  255,  268,  281,  282, 
291,  292,  298,  302,  304,  312,  328, 
330,  351,  354,  359,  364,  368,  375, 
378,  383,  391,  398,  399,  406,  410, 


674 


INDEX   OF  PLACES. 


413,  414,  422,  427,  432,  430,  448, 

451,  456,  457,  462,  468,  470,  473, 

475,  490,  509,  513,  534,  544,  571, 

575,  581,  582,  599,  602,  617,  629, 

630,  631,  632,  633,  635,  637,  639. 

640,  641,  642,  643,  644. 
Royal   Acad.,    302,    314,   325,   430, 

611,  631,  647. 

National  Portrait  Gall.,  30. 
British  Mus.,  90,  148,  175,  233,  237, 

266,  289,  338,  382,  389,  405,  410, 

422,  424,  582,  610. 
Bridgewater   Gall.     (Earl  of  Elles- 

mere),  63,  565,  591,  642. 
Royal  Library,  607. 
Coll.  of  Mr.  Baring,  103,  116,  640. 
Adelphi  Society  of  Arts,  73. 
Coll.  of  Lord   Ashburton,   99,  634, 

637,  638,  645. 

Coll.  of  Lord  Lansdowne,  426,  643. 
Marlborough  House,  294. 
Coll.  of  Mr.  Hope,  103. 
Sheepshanks  Coll.,  364. 
Garrick  Club,  212. 
Lord  Hertford's  Coll.,  220,  636,  637, 

640,641,  643,  644,645,  646. 
Corent  Garden  Theatre,  278. 
House  of  Lords,  262. 
Queen's  Robing  Room,  262. 
Buckingham    Pal.,   220,    302,   316, 

407,  520,  542,  643. 
Kensington    Mus.,    144,    234,    274, 

377,  403,  477,  511,  622. 
Coll.  of  Prince  Consort,  Kensington, 

112,  255,  317. 

Guildhall,  Common  Council  Cham- 
ber, 237. 

Westminster  Pal.,  235. 
Westminster  Abbey,  235,  579. 
S.  James,  Piccadilly,  299. 
All-Saints'  ch.,  Margaret  Street,  262. 
S.  Paul's  Cath.,  73,  299,  519,  581. 
New  Bethlehem  Hospital,  208. 
Places  near  London. 
Windsor  Castle,  131,  211,  283,  299 

336,  339,  397,  448,  645. 
Hampton  Court,    78,   84,   299,  300, 

334,  384,  387,  410,  423,  639. 
Dulwich  Gall.,  99,  330. 
Holland  House,  212. 
Greenwich  Hospital,  205,  243. 
Other  Places  in  Enylnnd. 
Wilton  House  (Earl  of  Pembroke), 

349.  365. 


Stanstead  House,  283. 

Sion  House,  439. 

Petworth   (Earl  of  Egremont),   49, 

407. 

Wroxton  Abbey,  508. 
Loo. 

Palace,  47. 
Loretto. 

Basilica,  95. 
Santa  Casa,  537,  579. 
Louvain. 
S   Peter's,  558. 
Town  Hall,  558. 
Lover  e. 

Coll.  of  the  Counts  of  Tadini,  90. 
LubecTc. 

Cathedral,  403,  430,  434. 
Notre  Dame,  436. 
Lucca. 

S.  Martino,  458. 
S.  Frediano,  55. 
Duomo,  211. 
Lucerne. 
Library,  336. 
Lion,  568. 
Lyons. 

Hotel  de  Ville,  111,  205. 
S.  Antoine,  205. 
Ch.  de  la  Trinite",  205. 
Magdeburg. 

Cathedral,  612. 
Madrid. 

Escorial,  1,  11,  174,  186,  199,  213, 
214,  425,  506,  508,  509,  513,  569, 
575. 

Royal  Gallery  or  Museum,  or  Queen 
of  Spain's  Gallery,  26,  40,  47,  54, 
55,  95,  125,  177,  187,  197,  200, 
202,  204,  213,  214,  215,  226,  265, 
272,  312,  347,  350,  363,  391,  392, 
393,  404,  407,  412,  417,  420,  434, 
437,  443,  449,  468,  477,  506,  509, 
512,  524,  563,  575,  579,  584,  599, 
605,  628,  629. 

Ch.  of  the  Imperial  College,  22. 
Ch.  of  the  Carmelites,  22. 
Ch.  of  the  Augustine  Re"collets,  70. 
Ch.  of  the  Carthusians,  79. 
Ch.  of  the  Rosary,  449. 
•La  Magdalena,  47. 
S.  Francis,  52. 
S.  Trinidad,  266. 
S.  Millan,  52. 

S.  Geronimo  (or  Jerome),  70,  213. 
S.  Juan  de  Dios,  174. 
S.  Lorenzo,  174. 


INDEX   OF  PLACES. 


675 


Acad.  of  S.  Ferdinand,  468. 

Augustine  College,  565. 

Square  before  the  Pal.  of  Philip  V., 

561. 
Maidbrunn. 

Church,  507. 
Malaga. 

Cathedral,  51,  177,  403. 
Malta. 

Cathedral,  39. 
Mantua. 

Palazzo  del  Te,  513,  521. 

S.  Andrea,  17,  46. 
Marly. 

Gardens,  375. 
Marseilles. 

Museum,  361. 

Carthusian  ch  ,  346. 
Mayence. 

City  Gall.,  207. 
Mechlin. 

Cathedral,  112,  128. 


Museo  Peloritano,  405. 
Middleborouyh  . 

Town  Hall,  103. 
Milan. 

Brera,  36,  93,  95,  169,  187,  233,  234, 
269,  274,  281,  305,  306,  378,  381, 
386,  411,  414,  473,  534,  559. 

Ambrosian  Gall.,  381,  610. 

Ambrosian  Library,  394. 

Casa  Silva,  381. 

Palazzo  Borromeo,  455. 

S.  Alessandro  Martire,  2. 

S.  Ambrogio,  108,  124. 

S.  Marie  delle  Grazie,  3,  274,  412, 
608. 

S.  Maurizio,  381. 

S.  Girolamo,  68. 
Modena. 

Gallery,  314,  409. 


(  hi.'sa  de'  Conventuali,  167. 
Mmitnlcino. 

S  Francesco,  286. 
Munich. 

Pinakothek  (or  Gallery),  17,  35,  56, 
66,  75,  86,  89,  99,  112,  115,  117, 
128,  132,  134,  138,  139,  166,  188, 
207,  208,  216,  217,  228,  229,  231, 
235,  254,  258,  259,  262,  264,  266, 
274,  279,  284,  289,  295,  298,  305, 
309,  310,  317,  322,  323,  327,  334, 


335,  342,  343,  348,  355,  365,  372, 
377,  383,  402,  404,  406,  407,  422, 
427,  436,  446,  448,  449,  490,  512, 
514,  515,  524,  525,  532,  542,  544, 
546,  547,  558,  563,  575,  589,  596, 
597,  600,  601,  615,  618,  621,  622. 

Glyptothek,  203,  204,  233,  322. 

Leuchtenberg  Gall.,  95,  422. 

Jesuit  ch.,  3. 

Town  Hall,  355. 

Ch.  of  Our  Lady,  3. 
Naples. 

Studj  Gall,  or  Museo  Borbonico,  76, 
80,  95,  172,  246,  267,  277,  292, 
310,  399,  456,  533,  542,  553. 

Library,  213. 

Cathedral,  246. 

S.  Domenico  Maggiore,  37. 

S.  John  Baptist,  172. 

S.  Restituta  (Basilica),  165. 

S.  Agostino,  56. 

S.  Martino,  555. 

S.  Gio.  a  Carbonara,  110. 

S.  Severino,  553. 

S.  Lorenzo  Maggiore,  553. 

Banco  de  Poveri,  37. 

Monte  Oliveto,  443,  518. 

Chiesa  dell'  Incoronata,  307. 

Capella  Tesoro,  359. 

Chiesa  della  Pieta  de  Turchini,  96. 
Newport  (Flanders). 

Town  Hall,  129. 

Church,  129. 
Newport  (Rhode  Island). 

Redwood  Library,  272,  354,  558. 
New  York. 

Historical  Society,  Coll.  of,  215,  232, 
349,  447,  617. 

City  Hall,  263,  347,  349,  617. 

Acad.  of  Fine  Arts,  256. 

Central  Park,  232. 

Metropolitan  Mus.  of  Art,  85,  630,  638. 

Coll.  of  Mr.  Lennox,  302. 

Coll.  of  J.  T.  Johnston,  30,  215,  263, 

Grace  Ch.,  286.  [629. 

Nismes. 

Fountain,  468. 
Novara. 

Cathedral,  359. 
Nuremberg. 

S.  Maurice,  35,  86,  334,  377,  448, 
558,  622. 

S.  Lawrence,  357. 

S.  Sebald,  356. 


676 


INDEX  OF  PLACES. 


Tomb  of  S.  Sebald,  612 
Frauenkirche,  356. 
^Egidienkirche,  614. 
Landauer  Bruderhaus,  35,  325,  343, 

448. 
Oliero. 

Village  of,  76. 
Orleans, 

Cathedral,  437. 
Orvieto. 

S.  Domenico,  54,  360. 
Cathedral,  275,  393,  549. 
Chapel  of  the  Santissimo  Corporale, 

403. 
Osborne. 

Palace,  302. 
Osma. 

Cathedral,  351. 
OsnabrucJc. 

Relic  case,  428. 
Ostend. 
Church,  129. 
Town  Hall,  353. 
Oxford. 
Museum,  91. 
Magdalen  College,  504. 
Trinity  College,  102. 
All  Souls'  College,  329. 
Padua. 
Gallery,  95. 
Communal  Gall.,  91. 
Coll.  of  Conte  Riva,  299. 
Ch.  of  the  Eremitani,  386. 
Chapel  of  the  Madonna  dell'  Arena, 

307. 

S.  Antonio,  20,  ^0,  506. 
S.  Maria  in  Vanzo,  76. 
S.  Giustina,  95. 
Carthusian  Convent,  559. 
Palermo. 

S.  Pietro  Martire,  12. 
S.  Domenico,  12. 
Palma. 

Convent  of  Monte  Sion,  107. 
Paris. 

Louvre,  2,  5,  15,  16,  22,  25,  27,  37, 
39,  42,  45,  47,  56,  63,  74,  76,  77, 
85,  87,  93,  95,  96,  102,  103,  111, 
113,  115,  116,  127,  128,  129,  135, 
137,  140,  163,  171,  172,  177,  186, 
187,  188,  189,  191,  198,  205,  206, 
207,  210,  214,  215,  217,  224,  226, 
227,  229,  233.  235,  243,  253,  262, 
264,  266,  268,  272,  274,  275,  287. 


292,  205,  298,  305,  309,  312,  314, 
316,  317,  321,  322,  325,  327,  329, 
330,  338,  340,  342,  343,  345,  347, 
348,  351,  352,  358,  359,  361,  362, 
369,  372,  381,  385,  387,  388,  406, 
407,  408,  411,  412,  415,  420,  421, 
431,  445,  452,  454,  461,  464,  466 
468,  469,  470,  474,  475,  490,  496. 
506,  511,  512,  514,  516,  519,  525 
531,  533,  535,  539,  549,  559,  563, 
565,  570,  571,  575,  582,  594,  597, 
599,  600,  602,  610,  615,  616,  618, 
623,  628, 632,  633, 641,  642,  646. 

Luxembourg  Gall.,  102,  126,  173, 
240,  241,  329,  347. 

Calais  Royal,  437. 

Ex-Pourtales  Gall.,  17. 

Musee  des  Monuments  Francais, 
140,  227,  228,  311. 

Theatre  Francais,  167,  239. 

Muse"e  Napoleon,  207. 

L'Ecole  des  Beaux  Arts,  241. 

Palais  des  Deputed,  224. 

Palais  de  Justice,  402. 

Hotel  des  Invalides,  167,  358. 

Ch.  des  Invalides,  227,  271. 

Arc  de  PEtoile,  224,  531. 

Garden  of  Tuileries,  128. 

Place  du  Carrousel,  126. 

Place  des  Victoires,  126. 

Place  du  Chatelet,  116. 

Place  Vendome,  102,  126. 

Porte  S.  Denis,  45. 

Jardin  des  Plantes,  58. 

Imperial  Library  or  Bibliotheque  of 
Paris,  58,  117,  277,  394. 

Notre  Dame,  2,  111,  129,  130,  137 
227,  228,  454. 

S.  Germain-des-Pres,  257. 

Ch.  of  the  Sorbonne,  44. 

Ch.  of  the  Celestines,  44. 

Val-de-Grace,  45,  408. 

De  1'Oratoire,  44. 

S.  Sulpice,  128. 

S.  Etienne-du-Mont,  2. 

S.  Hippolyte,  205. 

S.  Honore,  130. 

S.  Denis  de  la  Chartre,  45,  454, 
464. 

S.  Eustache,  228. 

S.  Andnvdes-Arcs,  44. 

S.  Roch,  227,  271. 

S.  Nicholas,  228. 

S.  Clotilde,  468. 


INDEX  OF   PLACES. 


677 


Parma. 

Cathedral,  25,  27,  29,  46,  47,  50. 

Episcopal  Pal.,  398. 
Baptistery,  74. 

La  Madonna  del  Quartiere,  104. 

Carmelites  Ch.,  104. 

Delia  Staccata,  399. 

S.  Giovanni,  53,  399. 

S.  Paolo,  51. 

S.  Sepolcro,  51. 

Academy  or  Gallery,  26,  51,  66,  398. 
Pavia. 

Carthusian  convent,  124. 
Perugia. 

S.  Domenico,  275,  461. 

S»  Anna,  455. 

S.  Giuliana,  22. 

S.  Agostino,  44,  74. 

S.  Francesco,  22. 

S.  Pietro  Maggiore,  473. 

S.  Pietro,  22,  251. 

S.  Tommaso,  385. 

S.  Maria  Nuova,  36. 

S.  Francesco  del  Monte,  451. 

Collegio  Gregoriano,  21. 

Palazzo  Comunale,  119. 

Palazzo  del  Consiglio,  375. 

Gallery,  22,  74,  119,  385. 
PMCMS. 

S.  Francis,  103. 
Petrarca. 

Villa,  117. 
Philadelphia. 

Independence  Hall,  347,  426,  447. 

Union  League  Club,  426. 

Acad.  of  Fine  Arts,  252,  426,  447, 
560. 

S.  George's  Society,  560. 

Statue  of  Jefferson,  2-3!) 

Gall,  of  Joseph   Harrison,  73,  109, 
447,  584,  619. 

Gall,  of  J.  L.  Claghorn,  263,  486. 

Coll.  of  E.  Pratt,  73. 
Pincenza. 

S.  Antonio,  74. 
Pisa. 

Campo  Santo,  42,  52,  80,  277,  312, 
374,  432,  460,  554,  602. 

Academy,  312. 

Duomo,  210,  290,  381. 

Baptistery,  459. 

Ch.  of  the  Carthusians,  115. 

Ch.  of  the  Dominicans,  393. 

S.  Maria  della  Spina,  460. 


Pia  Casa  della  Misericordia,  270. 
Pistoja. 

Cathedral,  274. 
S.  Giovanni,  303. 
Ceppo  Hospital,  511. 
Possayno. 

Church,  181,  182,  184. 
Potsdam. 

Palace,  544. 
Prague. 

Cathedral,  423. 
Emmaus  Ch.,  133. 
Monastery  Strahoff,  258,  326. 
Estates  Gall.,  320. 
Karlshof,  326. 
Prato. 

Cathedral,  290,  518. 
Ratisbon. 

Cathedral,  614. 
Ravenna. 
Cathedral,  70. 

Refectory  of  the  Camaldolesi,  373. 
Reggie. 

S.  Filippo,  62. 
S.  Pietro,  107. 
Rimini. 

S.  Francisco,  17,  282. 
Rome. 

S.  Peter's,  23,  45,  64,  72,  105,  106, 
160,  161,  162,  171,  181,  184,  199, 
233,  257,  281,  306,  462,  466,  518, 
535,  559. 

Vatican,  6,  7,  18,  20,  39,  42,  71,  110, 
181,  184,  233,  234,  246,  265,  275. 
281,  373,  382,  389,  391,  425,  451, 
454,  458,  469,  473,  475,  476,  511, 
518,  533,  535. 
Sixtine  Chapel,  128,  149,  156,  159, 

298,  451,  518,  550. 
S.  Maria  dell'  Anima,  228,  514,  539. 
S.  Caterina  de  Funari,  11. 
S.  Pietro  in  Montorio,  152,  616. 
S.  Spirito  in  Sassia,  11,  50. 
Madonna  della  Pace,   14,    64,  451, 

477,  548. 

S.  Maria  di  Montesanto,  61,  106. 
S.  Carlo,  18,  201. 
S.  Sebastian,  14. 
La  Trinita  de'  Monti,  17,  616. 
S.  Andrea  della  Valle,  201,  246.  259. 
S.  Luigi  dei  Francesci,  39,  246. 
S.  Maria  in  Via,  17. 
S.  Paolo,  360. 
Ch.  of  the  Holy  Apostles,  184. 


678 


INDEX  OF  PLACES. 


Scala  Santa,  42. 

Lateran,  18,  42,   174,  281,  293,  302. 

S.  Agostino,  167. 

S.  Maria  Maggiore,  42,  78,  290,  496. 

Chiesa  degli  Orfanelli,  118. 

Chiesa  Nuova,  42,  71,  118. 

S.  Onofrio,  455. 

S.  Maria  in  Vallicella,  522. 

S.  Sisto  Vecchio,  50. 

S.  Niccolo  in  Carcere,  64. 

S.  Luke,  65,  313. 

S.  Maria  Sopra  Minerva,  71,   292, 
412. 

S.  Maria  degli  Angeli,  78,  108,  246, 
423,  516. 

S.  Cecilia  in  Trastevere,  455. 

S.  Francesco  di  Paolo,  60. 

Ch.  of  the  Cappucini,  174. 

S.  Maria  del  Popolo,  18,  293. 

S.  Pietro  in  Vincoli,  157. 

S.  Maria-de-Monti,  18. 

S.  Pudenziana,  208. 

S.  Girolamo  della  Carita,  18,  79. 

Santa  Croce  in  Gerusalemme,  118, 

455,  521. 
S.  Clemente,  394. 

S.  Ursula,  201. 
S.  Maria  della  Vittoria,  105. 
S.  Bibiano,  105. 
S.  Grisogono,  201. 
S.  Anastasia,  105. 
S.  Maria  in  Trastevere,  201,  208 
S.  Gregorio  in  Monte  Celio,  220. 
S.  Silvestro  a  Monte  Cavallo,  204. 
Paulina,  220,  535. 
Stimmate,  98. 

Pantheon,  98,  174,  194,  204. 
Borghese  Pal.  or  Gall.,  14,  27,  39, 
80,  187,  224,  234,  246,   251,  292, 
316.  378,  474,  477,  553,  575. 
Villa  Borghese,  105,  184. 
Sciarra  Pal.,  39,  440,  575,  611. 
Sciarra  Colonna  Pal.,  477. 
Rospigliosi  Pal.,  113,  496. 
Chigi  Pal.,  15,  105. 
QuirinalPal.,  281,568. 
Corsini  Gall.,  189. 
Doria  Gall,  or  Pal.,   95,   113,   189, 

398,  456. 

Palazzo  Cesarini,  201. 
Casa  Panfili,  29. 
Villa  Lanti,  514. 
Spada  Pal.,  39,  98,  204,  318. 
Villa  Ludovisi,  318,  463. 


Colonna  Pal.,  29,  60,  64,  113,  140. 

Villa  Farnesina,  80,  451,  477,  514. 

Hadrian's  Tiburtine  Villa,  424. 

Palazzo  Torlonia,  302. 

Farnese  Pal.,  49,  193,  466. 

Massimi  Pal.,  423,  436. 

Pontifical  Pal.,  Monte  Cavallo,  65, 
113. 

Pavilion  of  Monte  Cavallo,  78. 

Palazzo    Barberini,    224,  259,    440, 
476. 

Acad.  of  S.  Luke,  18,  51,  98,  313, 
542. 

Capitoline  Gall.,  39,  118,  184,  217, 
318,  398,  422,  443,  469,  496. 

Museo  Pio  Clementine,  363. 

Baths  of  Caracalla,  49,  310. 

Baths  of  Diocletian,  163. 

Baths  of  Titus,  7. 

Esquiline  Hill,  7,  20. 

Piazza  Navona,  106. 

Castle  of  S.  Angelo,  412,  535. 

Bridge  of  S.  Angelo,  106. 

Convent  of  S.  Anna,  201. 

Collegio  Urbano  di  Propaganda  Fide, 

105. 
Rotterdam. 

Salle  des  Princes,  350. 
Rouen. 

Academy,  62. 

Cathedral,  130,  227. 
Rovigo. 

Museum,  95. 
Sablonvitte. 

Chapel,  433. 
Salamanca. 

S.  Clement,  291. 
Sassoferrato. 

S.  Agostino,  5. 


Episcopal  Pal.,  375. 
Savona. 

Cathedral,  29. 

S.  Maria  di  Castello,  281. 
Schleissheim. 

Gallery,  86,  262,  274,  289,  334,  384, 

496,  563. 
Scotland. 

National  Gall,  of,  472. 
Seville. 

Cathedral,  21,  51,  53,  177,  205,  384, 
391,  413,  420,  454,  584,  595. 

S.  Juan  de  la  Palma,  411. 

S.  Martin,  434. 


INDEX  OF  PLACES. 


679 


S.  Bernard,  328,  594. 

S.  Miguel,  21. 

S.  Isidore,  512. 

S.  Lorenzo,  392,  411. 

S.  Maria  la  Blanca,  498,  420. 

Santa  Cruz,  419. 

Hospital  de  la  Sangre,  384,  392. 

Hospital  of  S.  Lazarus,  391.     [512.] 

Hospital  de  la  Caridad,   418,  420, 

Alcazar,  52,  509. 

Museum  or  Academy,   55,  61,  311, 
328,  392,  411,  417,  420,  512,  579, 
584,  596,  628. 
Siena. 

Academy,  74,  80,  83,  244,  255,  286, 
373,  375,  391,  427,  436. 

Piccolomini  Pal.,  518. 

Palazzo  Pubblico,  80,  393,  554. 

Palazzo  della  Signoria,  74. 

Hospital  della  Scala,  75. 

Cathedral,  84,  254,  255,  296,  373, 
455,  474. 

S.  Domenico,  80,  104. 

S.  Caterina,  80,  436. 

S.  Spirito,  80. 

S.  Bernardino,  80,  83. 

Osservanza  (near  Siena),  511. 
Soesdyk. 

Palace,  49. 
Speyer. 

Cathedral,  430. 
Spoleto. 

S.  Maria  degli  Angeli,  554. 
Stafford  House. 

Gallery,  2,  26. 
St.  Gimignano. 

S.  Fina,  298. 

Capitular  ch.,  104. 

Hall  of  Justice,  403. 
St.  Petersburg. 

Hermitage,  17,  187,  347,  421,  448, 
600,  629,  630,  634,  635,  639.  640, 
642,  643,  644,  646,  647. 

Gortschakoff  Gall..  17. 

Coll.  of  Prince  Narischkin,  246. 
iS7.  Remo. 

S.  Maria  della  Costa,  119. 
St.  Severino. 

Cistercians  of,  375. 
Strasbourg. 

Gallery,  403,  430. 

S.  Thomas,  453. 
Stockholm. 
Museum,  548. 


Stuttgart. 

Museum,  95,  402. 

Neckar  Street  Fountain,  238. 
Tivoli. 

Villa  of  Hadrian,  443. 
Toledo. 

Cathedral,  12,  38,  95,  271,  403,  509, 
565,  605. 

S.  Peter  Martyr,  398. 

Hospital  of  S.  John  Baptist,  565. 

City  Hall,  565. 
Tours. 

Museum,  386. 
Trieste. 

Arsenal,  293. 
Turin. 

Gallery,  274,  403,  462. 

S.  Pelagio,  111. 

Chiesa  della  Croce,  83. 

Monte  della  Pieta,  52. 

aim. 

Cathedral,  542,  561. 

Besser  chapel,  542. 

Museum,  560. 

Fischkasten  Fountain,  561. 
Urbino. 

Cathedral,  71. 

Fraternity  of  Corpus  Christi,  295. 

S.  Agatha,  352. 

S.  Gio.  Battista,  375. 
Utrecht. 

Hospital  of  S.  Job,  62. 

Town  Hall,  546. 
Valdemoro. 

Church,  53. 
Valencia. 

Museum,  124,  177,  265,  350,  504. 

Cathedral,  52,  350,  506. 

S.  Nicholas,  350. 

S.  Philippe  of  the  Carmelites, 
79. 

Colegio  Patriarca,  504. 

Jesuit  Convent,  348. 
Valladolid. 

Museum,  243,  328,  351,  392. 
Vaprio. 

Castle,  401. 
Varallo. 

S.  Maria  di  Loretto  (near  Varallo), 

274. 
Venice. 

Academy,  76,  91,  92,  94,  110,  114, 
120,  122,  169,  174,  188,  270,  274, 
279,  280,  292,  299,  305,  359,  386 


680 


INDEX   OF  PLACES. 


406,  411,   417,  464,  471,   506,  570, 

572,  575,  595. 
Ducal  (or  Doge's)  Pal.,  91,  285,  441, 

509,  570. 

Council  Chamber,  Ducal  Pal.,  92. 
Casa  Albrizzi,  91. 
Farsetti  Pal.,  178,  184. 
Pasini  Pal.,  184. 
Correr  Mus.,  91,  93,  95. 
Manfrini   Gall.,    94,    110,    122,  277, 

304,  305,    406,  470,    513,  514,  539, 

542,  572,  575. 
Zecca,  537. 

Fabbriche  Nuove,  537. 
Public  Library,  537. 
School  of  S.  Roch,  570. 
Scuola  della  Misericordia,  537. 
School     of    S.     Gio.     Evangelista, 

92. 

S.    Mark's,    91,  299,  363,  537,  538. 
Library  of  S.  Marco,  363. 
Scuola  di  S.  Marco,  373. 
Confraternity  of  S.  Mark's,  95. 
S.  Zaccaria,  91,  94. 
S.  Girolamo,  126. 
S.  Gio.  Crisostomo,  94,  373. 
S.  Sophia,  77. 
S.  Marta,  98. 
S.  Mose,  447. 
S.  Nicholas,  98. 

S.  Francesco  della  Vigna,  285,  537. 
S.  Maria  de'  Frari,  94,  509. 
S.  Maria  Formosa,  440. 
SS.  Giovanni  e  Paolo,  94,  95,  363, 

373,  409,  575,  604,  646. 
S.  Salvatore,  94. 
S.  Giuliano,  114. 
S.  Sebastiano,  168. 
S.  Carlo,  171. 

Ch.  of  the  Ognissanti,  16,  507. 
Ch.  del  Carmine,  216. 
Ch.  del  Redentore,  94. 
Ch.  of  the  Ascension,  96. 
Jesuit  Ch.,  575. 
Vercelli. 

Cathedral,  274.      . 
S.  Paolo,  274. 
Verona. 
Cathedral,  91. 
S.  Carlo,  40. 
S.  Zeno,  386. 
S.  Biagio,  409. 
S.  Maria  in  Organo,  414. 
S.  Giorgio,  272. 


S.  Eufemia,  188. 
S.  Caterina  di  Siena,  43. 
Arch-Episcopal  Pal.,  91. 
Palazzo  del  Consiglio,  188. 
Gallery,  386. 
Versailles. 

Gardens,  45,  128,  265,  375. 
Chapel,  227. 
Vicenza. 

Gallery,  409,  411. 
Vienna. 

Belvedere  or  Imperial  Gall.,  3,  4, 11, 
26,  55,  66,  76,  89,  95,  99, 113,  120, 
122,  128,  130,  131,  134,  206,  229, 
240,  243,  252,  254,  258,  259,  263, 
264,  265,  269,  285,  289,  293,  295, 
303,  304,  310,  311,  323,  324,  326, 
327,  329,  330,  339,  343,  345,  348, 
355,  358,  362,  365,  378,  402,  406, 
407,  408,  410,  422,  434,  452,  466, 
471,  472,  515,  516,  524,  533,  544, 
546,  552,  555,  556,  560,  561,  562, 
563,  575,  597,  600,  627. 
Lichtenstein  Gall.,  19,  525. 
Esterhazy  Gall.,  74,  122,  298,  381, 

422,  449,  475. 
Imperial  Library,  331. 
Arsenal,  293. 
New  Opera  House,  293. 
Karl  Theatre,  293. 
Theatre,  2. 
Villabruna. 

Church,  382. 
Viseu. 

Church,  273. 
Viterbo. 

Palazzo  Braschi,  119. 
Washington. 
Capitol,  315,  364. 
Corcoran   Gallery,  639. 
Weimar. 
Museum,  69. 

Statues  of  Goethe  and  Schiller,  50V 
West  Point. 

Portrait  of  Jefferson,  560. 
Wilhelmshohe. 

Castle,  431,  580. 
Wiltshire. 

Seat  of  Lord  Heytesbury,  268. 
Longford  Castle,  33d 
Wittenberg. 

Church,' 612,  614. 
Worcester. 
Historical  Society,  551. 


INDEX  OF  PLACES. 


681 


Worms. 

Statue  of  Luther,  5V7. 
Wurzburg. 

Cathedral,  544. 
Xeres. 

Ch.  of  the  Carthusians,  51. 
Xanten. 

Church,  138. 


jLcU 


I'ale  College. 

Gallery,  60,  551,  580. 
Yepes. 

Parish  Ch.,  579. 
Zaragoza. 

Cath.  of  the  Pillar,  281 
Zurich. 

Library.  55. 


"« 


W,UU 
DAY    AND 
OVERDUE. 


THE    SEVENTH 


APR   12 


AUGJLaJ 
IUN    14  1943 


LD  21-95m-7,'37 


